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"content": "\u003cp>Do Black people have full Second Amendment rights?\u003c/p>\n\u003cp>That’s the question historian Carol Anderson set out to answer after Minnesota police killed \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\" target=\"_blank\" rel=\"noopener noreferrer\">Philando Castile\u003c/a>, a Black man with a license to carry a gun, during a 2016 traffic stop.\u003c/p>\n\u003cp>“Here was a Black man who was pulled over by the police and the police officer asked to see his identification. Philando Castile, using the NRA guidelines, alerts to the officer that he has a licensed weapon with him,” she says. “[And] the police officer began shooting.”\u003c/p>\n\u003cp>In the 1990s, after the assault on the \u003ca href=\"https://www.npr.org/2013/04/20/178063471/two-decades-later-some-branch-davidians-still-believe\" target=\"_blank\" rel=\"noopener noreferrer\">Branch Davidian compound\u003c/a> in Waco, Texas, the National Rifle Association condemned federal authorities as “jack-booted government thugs.” But Anderson says the organization “went virtually silent” when when it came to Castile’s case, issuing a \u003ca href=\"https://www.facebook.com/NationalRifleAssociation/photos/10154483218346833/\" target=\"_blank\" rel=\"noopener noreferrer\">tepid statement\u003c/a> that did not mention Castile by name.\u003c/p>\n\u003cp>In her new book \u003cem>The Second: Race and Guns in a Fatally Unequal America,\u003c/em> Anderson traces racial distinctions in Americans’ treatment of gun ownership back to the founding of the country and the Second Amendment, which states:\u003c/p>\n\u003cblockquote>\u003cp>“A well-regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.”\u003c/p>\u003c/blockquote>\n\u003cp>The language of the amendment, Anderson says, was crafted to ensure slave owners could quickly crush any rebellion or resistance from those they’d enslaved. And she says the right to bear arms, presumably guaranteed to all citizens, has been repeatedly denied to Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the things that I argue throughout this book is that it is just being Black that is the threat. And so when you mix that being Black as the threat with bearing arms, it’s an exponential fear,” she says. “This isn’t an anti-gun or a pro-gun book. This is a book about African Americans’ rights.”\u003c/p>\n\u003cfigure id=\"attachment_13898177\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg\" alt=\"'The Second: Race and Guns in a Fatally Unequal America,' by Carol Anderson.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9-160x120.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Second: Race and Guns in a Fatally Unequal America,’ by Carol Anderson. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the crafting of the Second Amendment at the Constitutional Convention \u003c/strong>\u003c/p>\n\u003cp>It was in response to the concerns coming out of the Virginia ratification convention for the Constitution, led by Patrick Henry and George Mason, that a militia that was controlled solely by the federal government would not be there to protect the slave owners from an enslaved uprising. And … James Madison crafted that language in order to mollify the concerns coming out of Virginia and the anti-Federalists, that they would still have full control over their state militias—and those militias were used in order to quell slave revolts. … The Second Amendment really provided the cover, the assurances that Patrick Henry and George Mason needed, that the militias would not be controlled by the federal government, but that they would be controlled by the states and at the beck and call of the states to be able to put down these uprisings.\u003c/p>\n\u003cp>\u003cstrong>On Black peoples’ access to arms after the American Revolution \u003c/strong>\u003c/p>\n\u003cp>You saw incredible restrictions being put in place about limiting access to arms. And this is across the board for free Blacks and, particularly, for the enslaved. And with each uprising, the laws became even more strict, even more definitive about who could and who could not bear arms. And so free Blacks were particularly proscribed. And so we see this, for instance, in Georgia, where Georgia had a law that restricted the carrying of guns.\u003c/p>\n\u003cp>\u003cstrong>On the founding fathers’ fear of a slave revolt, which was stoked by the Haitian revolution \u003c/strong>\u003c/p>\n\u003cp>When Haiti began to overthrow the French colonial masters and were seizing that country for themselves, when Blacks were seizing that country for themselves, the violence of the Haitian revolution, the existence of the Haitian revolution, just sent basically an earthquake of fear throughout the United States. You had George Washington lamenting the violence. You had Thomas Jefferson talking about [how] he was fearful that those ideas over there, if they get here, it’s going to be fire. You had James Madison worried. …\u003c/p>\n\u003cp>[aside postid='arts_13870538']Whites … were fleeing Haiti and were bringing their enslaved populations with them, their enslaved people with them. … [There was a fear that] the ideas that these Black Haitians would have, that somehow those ideas of revolution, those ideas of racial justice, those ideas of freedom and democracy would just metastasize throughout Virginia’s Black enslaved population and cause a revolt. You had that same fear coming out of Baltimore that then began to open up the public armory to whites saying, ‘You are justified in being armed because they’re bringing too many of these Black Haitians, these enslaved Haitians up here who have these ideas that Black people can be free.’\u003c/p>\n\u003cp>\u003cstrong>On how the Black Panthers responded to restrictions in Black people’s ability to bear arms in the 1960s\u003c/strong>\u003c/p>\n\u003cp>What the Black Panthers were dealing with was massive police brutality. Just beating on Black people, killing Black people at will with impunity. And the Panthers decided that they would police the police. Huey P. Newton, who was the co-founder of the Black Panthers along with Bobby Seale, … knew the law and he knew what the law said about being able to open carry weapons and the types of weapons you were able to openly carry and how far you had to stand away from the police arresting somebody or interrogating somebody. … And the police did not like having these aggressive Black men and women doing that work of policing the police. And the response was a thing called the Mulford Act, and the Mulford Act set out to ban open carrying of weapons. And it was drafted by a conservative assemblyman in California with the support and help of an NRA representative and eagerly signed by Gov. Ronald Reagan as a way to make illegal what the Panthers were legally doing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Historian+Uncovers+The+Racist+Roots+Of+The+2nd+Amendment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do Black people have full Second Amendment rights?\u003c/p>\n\u003cp>That’s the question historian Carol Anderson set out to answer after Minnesota police killed \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\" target=\"_blank\" rel=\"noopener noreferrer\">Philando Castile\u003c/a>, a Black man with a license to carry a gun, during a 2016 traffic stop.\u003c/p>\n\u003cp>“Here was a Black man who was pulled over by the police and the police officer asked to see his identification. Philando Castile, using the NRA guidelines, alerts to the officer that he has a licensed weapon with him,” she says. “[And] the police officer began shooting.”\u003c/p>\n\u003cp>In the 1990s, after the assault on the \u003ca href=\"https://www.npr.org/2013/04/20/178063471/two-decades-later-some-branch-davidians-still-believe\" target=\"_blank\" rel=\"noopener noreferrer\">Branch Davidian compound\u003c/a> in Waco, Texas, the National Rifle Association condemned federal authorities as “jack-booted government thugs.” But Anderson says the organization “went virtually silent” when when it came to Castile’s case, issuing a \u003ca href=\"https://www.facebook.com/NationalRifleAssociation/photos/10154483218346833/\" target=\"_blank\" rel=\"noopener noreferrer\">tepid statement\u003c/a> that did not mention Castile by name.\u003c/p>\n\u003cp>In her new book \u003cem>The Second: Race and Guns in a Fatally Unequal America,\u003c/em> Anderson traces racial distinctions in Americans’ treatment of gun ownership back to the founding of the country and the Second Amendment, which states:\u003c/p>\n\u003cblockquote>\u003cp>“A well-regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.”\u003c/p>\u003c/blockquote>\n\u003cp>The language of the amendment, Anderson says, was crafted to ensure slave owners could quickly crush any rebellion or resistance from those they’d enslaved. And she says the right to bear arms, presumably guaranteed to all citizens, has been repeatedly denied to Black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the things that I argue throughout this book is that it is just being Black that is the threat. And so when you mix that being Black as the threat with bearing arms, it’s an exponential fear,” she says. “This isn’t an anti-gun or a pro-gun book. This is a book about African Americans’ rights.”\u003c/p>\n\u003cfigure id=\"attachment_13898177\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg\" alt=\"'The Second: Race and Guns in a Fatally Unequal America,' by Carol Anderson.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9-160x120.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Second: Race and Guns in a Fatally Unequal America,’ by Carol Anderson. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the crafting of the Second Amendment at the Constitutional Convention \u003c/strong>\u003c/p>\n\u003cp>It was in response to the concerns coming out of the Virginia ratification convention for the Constitution, led by Patrick Henry and George Mason, that a militia that was controlled solely by the federal government would not be there to protect the slave owners from an enslaved uprising. And … James Madison crafted that language in order to mollify the concerns coming out of Virginia and the anti-Federalists, that they would still have full control over their state militias—and those militias were used in order to quell slave revolts. … The Second Amendment really provided the cover, the assurances that Patrick Henry and George Mason needed, that the militias would not be controlled by the federal government, but that they would be controlled by the states and at the beck and call of the states to be able to put down these uprisings.\u003c/p>\n\u003cp>\u003cstrong>On Black peoples’ access to arms after the American Revolution \u003c/strong>\u003c/p>\n\u003cp>You saw incredible restrictions being put in place about limiting access to arms. And this is across the board for free Blacks and, particularly, for the enslaved. And with each uprising, the laws became even more strict, even more definitive about who could and who could not bear arms. And so free Blacks were particularly proscribed. And so we see this, for instance, in Georgia, where Georgia had a law that restricted the carrying of guns.\u003c/p>\n\u003cp>\u003cstrong>On the founding fathers’ fear of a slave revolt, which was stoked by the Haitian revolution \u003c/strong>\u003c/p>\n\u003cp>When Haiti began to overthrow the French colonial masters and were seizing that country for themselves, when Blacks were seizing that country for themselves, the violence of the Haitian revolution, the existence of the Haitian revolution, just sent basically an earthquake of fear throughout the United States. You had George Washington lamenting the violence. You had Thomas Jefferson talking about [how] he was fearful that those ideas over there, if they get here, it’s going to be fire. You had James Madison worried. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whites … were fleeing Haiti and were bringing their enslaved populations with them, their enslaved people with them. … [There was a fear that] the ideas that these Black Haitians would have, that somehow those ideas of revolution, those ideas of racial justice, those ideas of freedom and democracy would just metastasize throughout Virginia’s Black enslaved population and cause a revolt. You had that same fear coming out of Baltimore that then began to open up the public armory to whites saying, ‘You are justified in being armed because they’re bringing too many of these Black Haitians, these enslaved Haitians up here who have these ideas that Black people can be free.’\u003c/p>\n\u003cp>\u003cstrong>On how the Black Panthers responded to restrictions in Black people’s ability to bear arms in the 1960s\u003c/strong>\u003c/p>\n\u003cp>What the Black Panthers were dealing with was massive police brutality. Just beating on Black people, killing Black people at will with impunity. And the Panthers decided that they would police the police. Huey P. Newton, who was the co-founder of the Black Panthers along with Bobby Seale, … knew the law and he knew what the law said about being able to open carry weapons and the types of weapons you were able to openly carry and how far you had to stand away from the police arresting somebody or interrogating somebody. … And the police did not like having these aggressive Black men and women doing that work of policing the police. And the response was a thing called the Mulford Act, and the Mulford Act set out to ban open carrying of weapons. And it was drafted by a conservative assemblyman in California with the support and help of an NRA representative and eagerly signed by Gov. Ronald Reagan as a way to make illegal what the Panthers were legally doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Historian+Uncovers+The+Racist+Roots+Of+The+2nd+Amendment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The film \u003cem>Judas and the Black Messiah\u003c/em> has already made history at the Oscars. It’s the first Best Picture nominee with an all-Black producing team, which includes two Kings and a Coogler: Ryan Coogler, Shaka King and Charles D. King, who brings a new vision for Hollywood.\u003c/p>\n\u003cp>King has always had an eye for spotting talent, and he knows diverse audiences are thirsty for their stories to be told in Hollywood. It’s why he created his own multiplatform company, called MACRO, “to focus on telling stories from and about people of color, ” he says. “There were just not enough of these types of movies.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>King remembers the phone call he got from his good friend Ryan Coogler, whose superhero movie \u003cem>Black\u003c/em> \u003cem>Panther \u003c/em>was a hit. He says Coogler was ready to produce a film about a real life Black Panther leader. “He said, hey, there’s this incredible script written by Shaka King about Fred Hampton,” King recalls. “And I’d like to see if you and MACRO would be interested in collaborating on it.”\u003c/p>\n\u003cp>“We were just blown away by the story,” he says, a story examining the work and life of Black Panther leader Fred Hampton, and the FBI informant who infiltrated the Chicago chapter of the Black Panther Party.\u003c/p>\n\u003cp>As a producer, King helped develop the script for \u003cem>Judas and the Black Messiah\u003c/em>; he was on the set and he was intensely involved with the film’s release and marketing. Writer/director Shaka King says Charles King’s support was crucial.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He committed 50 per cent of the budget before we even went out to a studio, which is incredibly rare, which also gave us just a certain level of autonomy,” says Shaka King. ” If he had put in less money, the studio would have had more control … I think one of the reasons [Charles] wanted to put up 50 per cent was because he wanted to make sure that I got to make the movie that I wanted to make, which was very generous of him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ivHf4ODMi4\u003c/p>\n\u003cp>King knows that representation matters. He was born in Harlem in 1969 and grew up in an Atlanta suburb, where his father was a pediatrician and his mother wrote novels and poetry. While studying political science at Vanderbilt, a friend suggested he become an entertainment lawyer.\u003c/p>\n\u003cp>“Growing up in Decatur, Georgia in a middle class family, I just didn’t know what an entertainment lawyer did,” he says. “But I watched this television show with my mother called \u003cem>L.A. Law\u003c/em>, and I remember there was this one Black character on the show played by Blair Underwood. He’s this charismatic African American attorney at the firm and he stood up for himself and he was just the man.”\u003c/p>\n\u003cp>King was inspired to study at Howard University School of Law. After graduating in 1997, he packed up a U-Haul truck and moved to Los Angeles with a few hundred dollars to his name. His ten-year plan to lead his own entertainment and media company began in the mailroom of the famed William Morris agency.\u003c/p>\n\u003cp>“I looked at the agency world as as the perfect launching ground to get my feet wet, to build relationships, to understand the industry,” King says. [aside postid='arts_13892167']\u003c/p>\n\u003cp>Even as a trainee in the mailroom, King brought in new clients, like hip-hop star Missy Elliot. He got to know the company’s CEO; he networked at conferences and wrote reports on cultural trends such as hip-hop, and on the viewing patterns and revenue potential of Black, Latino and Asian audiences. King moved up quickly.\u003c/p>\n\u003cp>“When I got promoted, it was the first time in, I believe, 101 years, [for an] African American to go from the mailroom to film and television agent, at least in the Beverly Hills office,” says King. “I was very good at being an agent, and I broke tremendous ground. I became the first Black partner in the history of Hollywood when William Morris and Endeavor merged.”\u003c/p>\n\u003cp>As an agent, King grew an impressive roster. Among his clients: Oprah, Janet Jackson, Lin-Manuel Miranda, and Tyler Perry, who he signed before anyone else in Hollywood knew who he was. King introduced Perry to studio executives and got them to see Perry’s plays. King also helped set up a deal at Lionsgate for Perry’s first film, \u003cem>Diary of a Mad Black Woman\u003c/em>.\u003c/p>\n\u003cp>“Everyone was like, oh, my God, I can’t believe this five million dollar movie made fifty million at box office and sold millions and millions and millions of DVDs,” he says. “And that was just the launch of this incredible franchise and business.”\u003c/p>\n\u003cp>King also helped Perry set up a new business model for syndicating TV projects, starting with \u003cem>Tyler Perry’s House of Payne\u003c/em>. With Perry’s lawyer, King structured what was called the “10-90” distribution deal, designed to maximize profitability: an arrangement where a network test runs ten episodes of a new television series. If it does well, the network then orders 90 more episodes and guarantees the entire 100-episode package will be sold for syndication.\u003c/p>\n\u003cp>“My nickname was 2005,” King recalls. That was the year, his fifth as an agent, he not only struck gold with Tyler Perry, but he also brought in filmmaker Craig Brewer, whose film \u003cem>Hustle and Flow\u003c/em> was a big seller at the Sundance Film Festival. King began repping the film’s star, Terrence Howard, who earned an Oscar nomination. And he began representing Prince.\u003c/p>\n\u003cp>King says as an African American man, he had to make ten times as many phone calls as his colleagues representing white movie stars and filmmakers. And he did a lot of educating about the value of diversity. [aside postid='arts_13819809']\u003c/p>\n\u003cp>“The leaders at the top of William Morris and, frankly, the senior chairman level of a lot of the studios that I would interface with, they would usually get it,” King says. “A lot of times, you find it’s the people in the middle that are less visionary. And so, yeah, of course, there were moments where I would be discussing things or bringing up concepts and meetings and literally got laughed at. And then a few years later, I was running the meetings because I was generating ten times more revenue than they were.”\u003c/p>\n\u003cp>In 2015, after nearly 20 years at William Morris, King took a leap of faith. He left the agency to create MACRO with his wife Stacey and a few partners. They launched a month before the #OscarsSoWhite movement began, and hit it out of the ballpark with the first film they produced, \u003cem>Fences\u003c/em>. The film’s star Denzel Washington earned an Oscar nomination, and co-star Viola Davis won Best Supporting Actress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jj-ZYPVRQbc\u003c/p>\n\u003cp>Then Mary J. Blige was nominated for another MACRO film, \u003cem>Mudbound\u003c/em>. Since then, MACRO has produced other films, including \u003cem>Just Mercy\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and the series \u003cem>Gentefied\u003c/em> and \u003cem>Raising Dion\u003c/em>. Earlier this year, King’s company inked a first-look deal with Warner Brothers to develop and package features.\u003c/p>\n\u003cp>King says up to 70 per cent of his team leaders are women, and everyone at his company is encouraged to present ideas. He says MACRO’s mission is to present a new paradigm in the media landscape, to disrupt the way things have always been done.\u003c/p>\n\u003cp>“This is not just about building an entertainment and media brand that will be around for generations,” he says. “This is also about lifting culture. It’s about creating opportunity. It’s about making our world better.”\u003c/p>\n\u003cp>King says his empire in Hollywood has only just begun.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Mandalit del Barco and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+About+Lifting+Culture%2C%27+Says+History-Making+Producer+Charles+D.+King&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film \u003cem>Judas and the Black Messiah\u003c/em> has already made history at the Oscars. It’s the first Best Picture nominee with an all-Black producing team, which includes two Kings and a Coogler: Ryan Coogler, Shaka King and Charles D. King, who brings a new vision for Hollywood.\u003c/p>\n\u003cp>King has always had an eye for spotting talent, and he knows diverse audiences are thirsty for their stories to be told in Hollywood. It’s why he created his own multiplatform company, called MACRO, “to focus on telling stories from and about people of color, ” he says. “There were just not enough of these types of movies.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King remembers the phone call he got from his good friend Ryan Coogler, whose superhero movie \u003cem>Black\u003c/em> \u003cem>Panther \u003c/em>was a hit. He says Coogler was ready to produce a film about a real life Black Panther leader. “He said, hey, there’s this incredible script written by Shaka King about Fred Hampton,” King recalls. “And I’d like to see if you and MACRO would be interested in collaborating on it.”\u003c/p>\n\u003cp>“We were just blown away by the story,” he says, a story examining the work and life of Black Panther leader Fred Hampton, and the FBI informant who infiltrated the Chicago chapter of the Black Panther Party.\u003c/p>\n\u003cp>As a producer, King helped develop the script for \u003cem>Judas and the Black Messiah\u003c/em>; he was on the set and he was intensely involved with the film’s release and marketing. Writer/director Shaka King says Charles King’s support was crucial.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He committed 50 per cent of the budget before we even went out to a studio, which is incredibly rare, which also gave us just a certain level of autonomy,” says Shaka King. ” If he had put in less money, the studio would have had more control … I think one of the reasons [Charles] wanted to put up 50 per cent was because he wanted to make sure that I got to make the movie that I wanted to make, which was very generous of him.”\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/6ivHf4ODMi4'\n title='//www.youtube.com/embed/6ivHf4ODMi4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>King knows that representation matters. He was born in Harlem in 1969 and grew up in an Atlanta suburb, where his father was a pediatrician and his mother wrote novels and poetry. While studying political science at Vanderbilt, a friend suggested he become an entertainment lawyer.\u003c/p>\n\u003cp>“Growing up in Decatur, Georgia in a middle class family, I just didn’t know what an entertainment lawyer did,” he says. “But I watched this television show with my mother called \u003cem>L.A. Law\u003c/em>, and I remember there was this one Black character on the show played by Blair Underwood. He’s this charismatic African American attorney at the firm and he stood up for himself and he was just the man.”\u003c/p>\n\u003cp>King was inspired to study at Howard University School of Law. After graduating in 1997, he packed up a U-Haul truck and moved to Los Angeles with a few hundred dollars to his name. His ten-year plan to lead his own entertainment and media company began in the mailroom of the famed William Morris agency.\u003c/p>\n\u003cp>“I looked at the agency world as as the perfect launching ground to get my feet wet, to build relationships, to understand the industry,” King says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even as a trainee in the mailroom, King brought in new clients, like hip-hop star Missy Elliot. He got to know the company’s CEO; he networked at conferences and wrote reports on cultural trends such as hip-hop, and on the viewing patterns and revenue potential of Black, Latino and Asian audiences. King moved up quickly.\u003c/p>\n\u003cp>“When I got promoted, it was the first time in, I believe, 101 years, [for an] African American to go from the mailroom to film and television agent, at least in the Beverly Hills office,” says King. “I was very good at being an agent, and I broke tremendous ground. I became the first Black partner in the history of Hollywood when William Morris and Endeavor merged.”\u003c/p>\n\u003cp>As an agent, King grew an impressive roster. Among his clients: Oprah, Janet Jackson, Lin-Manuel Miranda, and Tyler Perry, who he signed before anyone else in Hollywood knew who he was. King introduced Perry to studio executives and got them to see Perry’s plays. King also helped set up a deal at Lionsgate for Perry’s first film, \u003cem>Diary of a Mad Black Woman\u003c/em>.\u003c/p>\n\u003cp>“Everyone was like, oh, my God, I can’t believe this five million dollar movie made fifty million at box office and sold millions and millions and millions of DVDs,” he says. “And that was just the launch of this incredible franchise and business.”\u003c/p>\n\u003cp>King also helped Perry set up a new business model for syndicating TV projects, starting with \u003cem>Tyler Perry’s House of Payne\u003c/em>. With Perry’s lawyer, King structured what was called the “10-90” distribution deal, designed to maximize profitability: an arrangement where a network test runs ten episodes of a new television series. If it does well, the network then orders 90 more episodes and guarantees the entire 100-episode package will be sold for syndication.\u003c/p>\n\u003cp>“My nickname was 2005,” King recalls. That was the year, his fifth as an agent, he not only struck gold with Tyler Perry, but he also brought in filmmaker Craig Brewer, whose film \u003cem>Hustle and Flow\u003c/em> was a big seller at the Sundance Film Festival. King began repping the film’s star, Terrence Howard, who earned an Oscar nomination. And he began representing Prince.\u003c/p>\n\u003cp>King says as an African American man, he had to make ten times as many phone calls as his colleagues representing white movie stars and filmmakers. And he did a lot of educating about the value of diversity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The leaders at the top of William Morris and, frankly, the senior chairman level of a lot of the studios that I would interface with, they would usually get it,” King says. “A lot of times, you find it’s the people in the middle that are less visionary. And so, yeah, of course, there were moments where I would be discussing things or bringing up concepts and meetings and literally got laughed at. And then a few years later, I was running the meetings because I was generating ten times more revenue than they were.”\u003c/p>\n\u003cp>In 2015, after nearly 20 years at William Morris, King took a leap of faith. He left the agency to create MACRO with his wife Stacey and a few partners. They launched a month before the #OscarsSoWhite movement began, and hit it out of the ballpark with the first film they produced, \u003cem>Fences\u003c/em>. The film’s star Denzel Washington earned an Oscar nomination, and co-star Viola Davis won Best Supporting Actress.\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/jj-ZYPVRQbc'\n title='//www.youtube.com/embed/jj-ZYPVRQbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then Mary J. Blige was nominated for another MACRO film, \u003cem>Mudbound\u003c/em>. Since then, MACRO has produced other films, including \u003cem>Just Mercy\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and the series \u003cem>Gentefied\u003c/em> and \u003cem>Raising Dion\u003c/em>. Earlier this year, King’s company inked a first-look deal with Warner Brothers to develop and package features.\u003c/p>\n\u003cp>King says up to 70 per cent of his team leaders are women, and everyone at his company is encouraged to present ideas. He says MACRO’s mission is to present a new paradigm in the media landscape, to disrupt the way things have always been done.\u003c/p>\n\u003cp>“This is not just about building an entertainment and media brand that will be around for generations,” he says. “This is also about lifting culture. It’s about creating opportunity. It’s about making our world better.”\u003c/p>\n\u003cp>King says his empire in Hollywood has only just begun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Mandalit del Barco and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+About+Lifting+Culture%2C%27+Says+History-Making+Producer+Charles+D.+King&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-black-panther-party-and-the-rev-cheryl-dawson",
"title": "The Black Panther Party and the Rev. Cheryl Dawson",
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"headTitle": "The Black Panther Party and the Rev. Cheryl Dawson | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he sun shined down on West Oakland last Wednesday as I was greeted with a warm, welcoming, COVID-cautious elbow bump from Ericka Huggins.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Huggins, the former director of the Black Panther Party’s Oakland Community School, stood masked among a scattered crowd of people on the 1.3-mile stretch of greenway that bisects Mandela Parkway in West Oakland. It’s here that the Cypress Structure collapsed in the ’89 quake—and also where two months prior in that same year, Black Panther Party cofounder Dr. Huey P. Newton was shot and killed just a few blocks away.\u003c/p>\n\u003cp>And yet—as I overheard one person say during Wednesday’s gathering—“this isn’t where he died, this is where he \u003cem>lived\u003c/em>.”\u003c/p>\n\u003cp>Last Wednesday, Feb. 17, would’ve been Dr. Newton’s 79th birthday. To help celebrate were newly minted street signs on a three-block section of 9th Street, now officially rechristened Dr. Huey P. Newton Way.\u003c/p>\n\u003cp>After Fredrika Newton, Dr. Newton’s widow and president of the \u003ca href=\"https://hueypnewtonfoundation.org/\">Dr. Huey P. Newton Foundation\u003c/a>, ceremoniously removed the cloth that covered the new street sign on 9th Street and Mandela Parkway, the crowd made its way to the intersection of 9th and Center Streets. That’s where a freshly painted mural dedicated to the women of the Black Panther Party now radiates from the broad side of a two-story Victorian home.\u003c/p>\n\u003cfigure id=\"attachment_13893058\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMG_3053-800x600.jpg\" alt=\"A two-story home on Center street and 9th street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-story home on Center street and 9th Street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artist \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> worked with other artists and community members on \u003ca href=\"https://linktr.ee/westoaklandmuralproject\" target=\"_blank\" rel=\"noopener noreferrer\">the #SayHerName: Women of the Black Panther Party Mural Project\u003c/a>, an initiative spearheaded by homeowner \u003ca href=\"https://www.instagram.com/missjilie/\" target=\"_blank\" rel=\"noopener noreferrer\">JiLchristina Vest\u003c/a> that honors the names of the largely overlooked women of the Black Panther Party. Towering images of women supplying groceries and carrying guns, drawn from photos taken by \u003ca href=\"https://stephenshames.com/projects/black-panther-party/\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Shames\u003c/a>, are accompanied by the written names of over 250 women—all former Panthers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There aren’t that many public displays honoring the Black Panthers in Oakland. The new mural and street signs join a meager collection: a \u003ca href=\"https://localwiki.org/oakland/Black_Panther_Party\" target=\"_blank\" rel=\"noopener noreferrer\">small sign\u003c/a> on the corner of 55th and Market Streets, a \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">mural\u003c/a> on 14th and Peralta Streets, the \u003ca href=\"https://www.merritt.edu/student-life/hue-p-newton-lounge/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Lounge\u003c/a> at Merritt College and \u003ca href=\"https://www.npr.org/2018/04/06/600055767/bobby-hutton-the-killing-that-catapulted-the-black-panthers-to-fame\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bobby Hutton Grove\u003c/a> in DeFremery Park.\u003c/p>\n\u003cp>But countless Panther flags, shirts, and tattoos on the skin of the people in this community all stand as evidence of a widely-known fact: this is Panther territory.\u003c/p>\n\u003cfigure id=\"attachment_13893145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg\" alt=\"Two men hold a 'Free Huey' banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1536x1006.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two men hold a ‘Free Huey’ banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>ven beyond Oakland’s city limits, the Black Panther Party is once again in the larger public consciousness.\u003c/p>\n\u003cp>Shaka King’s recently released film \u003ca href=\"https://www.kqed.org/arts/13892640/director-shaka-kings-long-journey-to-judas-and-the-black-messiah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Judas and the Black Messiah\u003c/i>\u003c/a> has reinvigorated people’s interest in the life, politics, and assassination of the Illinois Black Panther Party chapter’s chairman, Fred Hampton. (The film is told from the perspective of William O’Neal, the informant who assisted the FBI in bringing Hampton down.)\u003c/p>\n\u003cp>But well before \u003cem>Judas and the Black Messiah\u003c/em>, and the murals and new signage in Oakland, the legacy of the Party and the individuals involved has long been a personal interest of mine.\u003c/p>\n\u003cp>I once held back childlike excitement when Ericka Huggins and archivist Lisbet Tellefsen allowed me to look through the \u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">old photos of the Black Panther’s Oakland Community School\u003c/a>. And I defeated pterodactyl-sized stomach butterflies of nervousness before asking Fredrika Newton \u003ca href=\"https://www.kqed.org/arts/13874735/fredrika-newton-huey-p-revolutionary-love\" target=\"_blank\" rel=\"noopener noreferrer\">intimate questions about her relationship with Dr. Newton\u003c/a>.[aside postID='arts_13874735']\u003c/p>\n\u003cp>I’ve talked to educational counselor and former Panther\u003ca href=\"https://ogtoldme.tumblr.com/post/68941837393/sometimes-we-devalue-ourselves-we-dont-really\" target=\"_blank\" rel=\"noopener noreferrer\"> Massai Minters\u003c/a> at UCLA’s Campbell Hall where Bunchy Carter and John Huggins were assassinated, attended an event at Merritt College where famed Black Panther Party illustrator \u003ca href=\"https://ogtoldme.tumblr.com/post/77494359367/culture-is-a-weapon-emory-douglas-emory\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a> spoke about his book \u003cem>Black Panther: The Revolutionary Art of Emory Douglas\u003c/em>, and even sat in a small apartment with a sick \u003ca href=\"https://ogtoldme.tumblr.com/post/49263235572/when-asked-what-guidance-he-would-give-to-a-young\" target=\"_blank\" rel=\"noopener noreferrer\">Ronald “Elder” Freeman\u003c/a>, discussing how to address the ills of society while simultaneously looking for his medicine. Elder has since passed, but his words linger.\u003c/p>\n\u003cp>Through these interactions, as well as reading books and watching documentaries, I’ve gained a certain understanding about the Panthers: terrorized by the government, stigmatized by the media, and loved by the people (well, \u003cem>some\u003c/em> of the people). The Panthers fought to save their community from the failures of a capitalist system, while simultaneously dealing with their own personal issues—issues that were largely the byproducts of a capitalist system.\u003c/p>\n\u003cp>Beyond the legacy of the Black Panther Party as a whole, I often think about the stories of the individual people involved. People whose stories haven’t been fully told. People like the Rev. Cheryl Dawson.\u003c/p>\n\u003cfigure id=\"attachment_13893142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg\" alt=\"Rev. Cheryl Dawson.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rev. Cheryl Dawson. \u003ccite>(Courtesy Cheryl Dawson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> took the political structure that I learned in the Party, and combined it with the information that I had about womanist theory and I took that work to the Congo—the Democratic Republic of the Congo—did I tell you about that?” Dawson asks me over the phone.\u003c/p>\n\u003cp>I tell her that during our two previous conversations she hadn’t mentioned that, so I’m glad she called back.\u003c/p>\n\u003cp>She tells me that about a decade ago she led empowerment workshops with women in Uganda and Haiti as well, using principles she developed when she was selling copies of the Black Panther Party newspaper on the corner of Alcatraz Avenue and Adeline Street in Berkeley back in the day.\u003c/p>\n\u003cp>In an earlier conversation, she mentions another chapter in her life that was also heavily influenced by her time with the Party.[aside postID='arts_13884294']\u003c/p>\n\u003cp>Starting in the early ’80s Dawson worked in and out of prisons, developing programs for women who are incarcerated. She spent the final decade of her career working as the Rehabilitation Services Coordinator in the San Francisco County Sheriff Office’s Women’s Resource Center. That’s where she implemented a curriculum to empower women through lectures, through the use of popular media to inspire critical thinking, and by asking class attendees to reflect on “\u003ca href=\"http://ww.sfsheriff.com/newsletter_june2017.html\" target=\"_blank\" rel=\"noopener noreferrer\">their own cultural experiences and injustices\u003c/a>”. Upon leaving her position last year, the San Francisco Sheriff’s Department honored her commitment to the work by naming Dec. 20 “Rev. Cheryl Dawson Day.”\u003c/p>\n\u003cp>I couldn’t help but wonder: \u003ci>How do you pivot from working for a revolutionary liberation organization to working for the very institution that incarcerates people?\u003c/i>\u003c/p>\n\u003cp>“I was working in the same sacred spaces,” explains Dawson. “The same tight corners, the same buried holes in the ground that I had tested, and walked in, and helped raise people up from when I was working in the Party … The pain that women wore in the prison is the same pain that I saw in the community from which they had come.”\u003c/p>\n\u003cp>Simply put, Dawson saw the position as an opportunity to get deeper into the system and make a change from within.\u003c/p>\n\u003cfigure id=\"attachment_13893149\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.1970s.jpg\" alt=\"Cheryl Dawson in the 1970s. \" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1980s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a consultant at the federal prison in Dublin, she recalls sitting outside of solitary confinement, kneeling down on the cement floor, and talking through the slit in the steel door where the food was passed through. “I was trying to get a glimpse of the woman I was talking to,” says Dawson. “To just hold her gaze for a moment and try to give her hope for tomorrow.”\u003c/p>\n\u003cp>She did this work while continuing to face “that same deep intimate pain” that she experienced as a young girl; the pain that pushed her to join the Party in the first place.\u003c/p>\n\u003cp>As a child, Dawson lived in \u003ca href=\"https://universityvillage.berkeley.edu/about/village-history\" target=\"_blank\" rel=\"noopener noreferrer\">Codornices Village\u003c/a>, a housing project on land leased from UC Berkeley to house wartime workers and their families in the 40s, many of them African American. It’s no coincidence that in the 1960s, when the housing projects were closed and the property was returned to UC Berkeley, \u003ca href=\"http://www.bayareacensus.ca.gov/cities/Albany50.htm\" target=\"_blank\" rel=\"noopener noreferrer\">the “Negro” population\u003c/a> of Albany went from 1,778 people in 1950 down to just 75 people in 1960.\u003c/p>\n\u003cp>Afterward, Dawson spent some time in Oakland, but Berkeley was her home. She lived one block to the white side of the city’s racial housing dividing line, formerly known as Grove street (now Martin Luther King Jr. Boulevard).\u003c/p>\n\u003cp>At Berkeley’s Longfellow Elementary School, despite being in the Black neighborhood of South Berkeley, she saw racism firsthand. In class, Dawson says, she and the other Black kids were routinely overlooked when they raised their hands and over-punished when they got in trouble.\u003c/p>\n\u003cfigure id=\"attachment_13893150\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg\" alt=\"Cheryl Dawson in the 1970s.\" width=\"600\" height=\"832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker-160x222.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1970s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says a brother as dark as she was once got in trouble, and a white teacher grabbed him by the scruff of his neck and put him under one of those old-fashioned wooden desks. The teacher then sat down and scooted her chair in. “She pinned him in like he was a dog or cat or something,” says Dawson. “The only thing he could do is look out from under the desk.”\u003c/p>\n\u003cp>The memory of the disobedient boy and the heavy-handed punishment stuck with her. Shortly afterward she learned about social workers, and how they helped people; especially people who looked like her. “At a very young age,” says Dawson, “I had a desire to do that, it was stamped in my heart. Unbeknownst to me, it would continue to manifest for the remainder of my life.”\u003c/p>\n\u003cp>She went on to attend Willard Junior High, which was much whiter, and well above the racial dividing line. After attending Berkeley High for the majority of her high school years, she graduated from Oakland Tech and went on to Cal State East Bay.\u003c/p>\n\u003cp>While she was in college, Dawson was invited to an event at Oakland City College where Black Panther Party for Self-Defense co-founder Bobby Seale was speaking. And the rest was history.\u003c/p>\n\u003cfigure id=\"attachment_13893143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson-800x532.jpg\" alt=\"Cheryl Dawson, seen here with her family.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson, seen here with her children. \u003ccite>(Courtesy Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ev. Dawson has no issue discussing details of her time in the Party, like bundling up her infant daughter at the early hour of “can’t see in the morning” so they could get to the Panther headquarters, serve the people and take political classes, only to return home at “can’t see at night.”\u003c/p>\n\u003cp>But what stands out from our conversation is Dawson periodically pausing to ask her grandchildren to “be careful while you’re doing that.”\u003c/p>\n\u003cp>Community service starts at home.\u003c/p>\n\u003cp>Dawson tells me she’s inspired by her great uncle, who left the south on a flatbed truck after being chased by the Klan. Once he settled in California, he sent for his sister, Dawson’s grandmother. Not too long after arriving in the Bay Area, Dawson’s grandmother and grandfather were wed through a marriage broker in West Oakland.[aside postID='arts_13825847']\u003c/p>\n\u003cp>Speaking highly of her four children, Dawson proudly mentions that two of her sons chose to change their names upon adulthood in an effort to shed their slave names.\u003c/p>\n\u003cp>Dawson holds a master’s degree in womanist theology from the American Baptist Seminary at UC Berkeley’s Graduate Theological Union, as well as an M.A. in women’s spirituality from San Francisco’s California Institute of Integral Studies. She was ordained as a reverend about five years ago, at the same place she served: the historic Beth Eden Baptist Church in West Oakland.\u003c/p>\n\u003cp>She tells me she just recently returned to the church, as nowadays spends most of her time with the grandchildren I heard in the background on our calls. And of course, she plans to take them to see the new mural featuring images of her comrades in West Oakland.\u003c/p>\n\u003cp>“The mural brings us from the margins to the center,” says Dawson of the artwork’s significance. “To turn the light on and say: I see you. And to further extend my view of connectivity and say, ‘I see you, because you are me.’ Just that alone is life-saving. And that’s what we were about in the Party: \u003cem>saving the lives of our people.\u003c/em>”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>The Rev. Cheryl Dawson recently spoke about her experiences with the Black Panther Party on the KQED podcast The Bay. \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Hear it here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>As part of ‘The Black Panther Party Celebration of Activism,’ Pendarvis Harshaw interviews Ryan Coogler, Marshawn Lynch, Marcus Roberts, Charles D. King and Josh Johnson, to be broadcast on Facebook Live and YouTube on Wednesday, Feb. 24, at noon PST. \u003ca href=\"https://www.oaklandrootssc.com/news_article/show/1146959\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new mural in West Oakland honors the women of the Black Panther Party—and Rev. Cheryl Dawson is one of them.",
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"title": "The Black Panther Party and the Rev. Cheryl Dawson | KQED",
"description": "A new mural in West Oakland honors the women of the Black Panther Party—and Rev. Cheryl Dawson is one of them.",
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"headline": "The Black Panther Party and the Rev. Cheryl Dawson",
"datePublished": "2021-02-23T16:07:43-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he sun shined down on West Oakland last Wednesday as I was greeted with a warm, welcoming, COVID-cautious elbow bump from Ericka Huggins.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Huggins, the former director of the Black Panther Party’s Oakland Community School, stood masked among a scattered crowd of people on the 1.3-mile stretch of greenway that bisects Mandela Parkway in West Oakland. It’s here that the Cypress Structure collapsed in the ’89 quake—and also where two months prior in that same year, Black Panther Party cofounder Dr. Huey P. Newton was shot and killed just a few blocks away.\u003c/p>\n\u003cp>And yet—as I overheard one person say during Wednesday’s gathering—“this isn’t where he died, this is where he \u003cem>lived\u003c/em>.”\u003c/p>\n\u003cp>Last Wednesday, Feb. 17, would’ve been Dr. Newton’s 79th birthday. To help celebrate were newly minted street signs on a three-block section of 9th Street, now officially rechristened Dr. Huey P. Newton Way.\u003c/p>\n\u003cp>After Fredrika Newton, Dr. Newton’s widow and president of the \u003ca href=\"https://hueypnewtonfoundation.org/\">Dr. Huey P. Newton Foundation\u003c/a>, ceremoniously removed the cloth that covered the new street sign on 9th Street and Mandela Parkway, the crowd made its way to the intersection of 9th and Center Streets. That’s where a freshly painted mural dedicated to the women of the Black Panther Party now radiates from the broad side of a two-story Victorian home.\u003c/p>\n\u003cfigure id=\"attachment_13893058\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMG_3053-800x600.jpg\" alt=\"A two-story home on Center street and 9th street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMG_3053.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-story home on Center street and 9th Street in West Oakland is now home to a mural dedicated to the women of the Black Panther Party. Artwork by Rachel Wolfe-Goldsmith. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artist \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> worked with other artists and community members on \u003ca href=\"https://linktr.ee/westoaklandmuralproject\" target=\"_blank\" rel=\"noopener noreferrer\">the #SayHerName: Women of the Black Panther Party Mural Project\u003c/a>, an initiative spearheaded by homeowner \u003ca href=\"https://www.instagram.com/missjilie/\" target=\"_blank\" rel=\"noopener noreferrer\">JiLchristina Vest\u003c/a> that honors the names of the largely overlooked women of the Black Panther Party. Towering images of women supplying groceries and carrying guns, drawn from photos taken by \u003ca href=\"https://stephenshames.com/projects/black-panther-party/\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Shames\u003c/a>, are accompanied by the written names of over 250 women—all former Panthers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There aren’t that many public displays honoring the Black Panthers in Oakland. The new mural and street signs join a meager collection: a \u003ca href=\"https://localwiki.org/oakland/Black_Panther_Party\" target=\"_blank\" rel=\"noopener noreferrer\">small sign\u003c/a> on the corner of 55th and Market Streets, a \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">mural\u003c/a> on 14th and Peralta Streets, the \u003ca href=\"https://www.merritt.edu/student-life/hue-p-newton-lounge/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Lounge\u003c/a> at Merritt College and \u003ca href=\"https://www.npr.org/2018/04/06/600055767/bobby-hutton-the-killing-that-catapulted-the-black-panthers-to-fame\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bobby Hutton Grove\u003c/a> in DeFremery Park.\u003c/p>\n\u003cp>But countless Panther flags, shirts, and tattoos on the skin of the people in this community all stand as evidence of a widely-known fact: this is Panther territory.\u003c/p>\n\u003cfigure id=\"attachment_13893145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg\" alt=\"Two men hold a 'Free Huey' banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers-1536x1006.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FreeHuey.Black_.Panthers.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two men hold a ‘Free Huey’ banner at the newly christened Huey P. Newton Way in West Oakland, Feb. 17, 2021. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>ven beyond Oakland’s city limits, the Black Panther Party is once again in the larger public consciousness.\u003c/p>\n\u003cp>Shaka King’s recently released film \u003ca href=\"https://www.kqed.org/arts/13892640/director-shaka-kings-long-journey-to-judas-and-the-black-messiah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Judas and the Black Messiah\u003c/i>\u003c/a> has reinvigorated people’s interest in the life, politics, and assassination of the Illinois Black Panther Party chapter’s chairman, Fred Hampton. (The film is told from the perspective of William O’Neal, the informant who assisted the FBI in bringing Hampton down.)\u003c/p>\n\u003cp>But well before \u003cem>Judas and the Black Messiah\u003c/em>, and the murals and new signage in Oakland, the legacy of the Party and the individuals involved has long been a personal interest of mine.\u003c/p>\n\u003cp>I once held back childlike excitement when Ericka Huggins and archivist Lisbet Tellefsen allowed me to look through the \u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">old photos of the Black Panther’s Oakland Community School\u003c/a>. And I defeated pterodactyl-sized stomach butterflies of nervousness before asking Fredrika Newton \u003ca href=\"https://www.kqed.org/arts/13874735/fredrika-newton-huey-p-revolutionary-love\" target=\"_blank\" rel=\"noopener noreferrer\">intimate questions about her relationship with Dr. Newton\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve talked to educational counselor and former Panther\u003ca href=\"https://ogtoldme.tumblr.com/post/68941837393/sometimes-we-devalue-ourselves-we-dont-really\" target=\"_blank\" rel=\"noopener noreferrer\"> Massai Minters\u003c/a> at UCLA’s Campbell Hall where Bunchy Carter and John Huggins were assassinated, attended an event at Merritt College where famed Black Panther Party illustrator \u003ca href=\"https://ogtoldme.tumblr.com/post/77494359367/culture-is-a-weapon-emory-douglas-emory\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a> spoke about his book \u003cem>Black Panther: The Revolutionary Art of Emory Douglas\u003c/em>, and even sat in a small apartment with a sick \u003ca href=\"https://ogtoldme.tumblr.com/post/49263235572/when-asked-what-guidance-he-would-give-to-a-young\" target=\"_blank\" rel=\"noopener noreferrer\">Ronald “Elder” Freeman\u003c/a>, discussing how to address the ills of society while simultaneously looking for his medicine. Elder has since passed, but his words linger.\u003c/p>\n\u003cp>Through these interactions, as well as reading books and watching documentaries, I’ve gained a certain understanding about the Panthers: terrorized by the government, stigmatized by the media, and loved by the people (well, \u003cem>some\u003c/em> of the people). The Panthers fought to save their community from the failures of a capitalist system, while simultaneously dealing with their own personal issues—issues that were largely the byproducts of a capitalist system.\u003c/p>\n\u003cp>Beyond the legacy of the Black Panther Party as a whole, I often think about the stories of the individual people involved. People whose stories haven’t been fully told. People like the Rev. Cheryl Dawson.\u003c/p>\n\u003cfigure id=\"attachment_13893142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg\" alt=\"Rev. Cheryl Dawson.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.2021.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rev. Cheryl Dawson. \u003ccite>(Courtesy Cheryl Dawson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> took the political structure that I learned in the Party, and combined it with the information that I had about womanist theory and I took that work to the Congo—the Democratic Republic of the Congo—did I tell you about that?” Dawson asks me over the phone.\u003c/p>\n\u003cp>I tell her that during our two previous conversations she hadn’t mentioned that, so I’m glad she called back.\u003c/p>\n\u003cp>She tells me that about a decade ago she led empowerment workshops with women in Uganda and Haiti as well, using principles she developed when she was selling copies of the Black Panther Party newspaper on the corner of Alcatraz Avenue and Adeline Street in Berkeley back in the day.\u003c/p>\n\u003cp>In an earlier conversation, she mentions another chapter in her life that was also heavily influenced by her time with the Party.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starting in the early ’80s Dawson worked in and out of prisons, developing programs for women who are incarcerated. She spent the final decade of her career working as the Rehabilitation Services Coordinator in the San Francisco County Sheriff Office’s Women’s Resource Center. That’s where she implemented a curriculum to empower women through lectures, through the use of popular media to inspire critical thinking, and by asking class attendees to reflect on “\u003ca href=\"http://ww.sfsheriff.com/newsletter_june2017.html\" target=\"_blank\" rel=\"noopener noreferrer\">their own cultural experiences and injustices\u003c/a>”. Upon leaving her position last year, the San Francisco Sheriff’s Department honored her commitment to the work by naming Dec. 20 “Rev. Cheryl Dawson Day.”\u003c/p>\n\u003cp>I couldn’t help but wonder: \u003ci>How do you pivot from working for a revolutionary liberation organization to working for the very institution that incarcerates people?\u003c/i>\u003c/p>\n\u003cp>“I was working in the same sacred spaces,” explains Dawson. “The same tight corners, the same buried holes in the ground that I had tested, and walked in, and helped raise people up from when I was working in the Party … The pain that women wore in the prison is the same pain that I saw in the community from which they had come.”\u003c/p>\n\u003cp>Simply put, Dawson saw the position as an opportunity to get deeper into the system and make a change from within.\u003c/p>\n\u003cfigure id=\"attachment_13893149\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.1970s.jpg\" alt=\"Cheryl Dawson in the 1970s. \" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.1970s-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1980s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a consultant at the federal prison in Dublin, she recalls sitting outside of solitary confinement, kneeling down on the cement floor, and talking through the slit in the steel door where the food was passed through. “I was trying to get a glimpse of the woman I was talking to,” says Dawson. “To just hold her gaze for a moment and try to give her hope for tomorrow.”\u003c/p>\n\u003cp>She did this work while continuing to face “that same deep intimate pain” that she experienced as a young girl; the pain that pushed her to join the Party in the first place.\u003c/p>\n\u003cp>As a child, Dawson lived in \u003ca href=\"https://universityvillage.berkeley.edu/about/village-history\" target=\"_blank\" rel=\"noopener noreferrer\">Codornices Village\u003c/a>, a housing project on land leased from UC Berkeley to house wartime workers and their families in the 40s, many of them African American. It’s no coincidence that in the 1960s, when the housing projects were closed and the property was returned to UC Berkeley, \u003ca href=\"http://www.bayareacensus.ca.gov/cities/Albany50.htm\" target=\"_blank\" rel=\"noopener noreferrer\">the “Negro” population\u003c/a> of Albany went from 1,778 people in 1950 down to just 75 people in 1960.\u003c/p>\n\u003cp>Afterward, Dawson spent some time in Oakland, but Berkeley was her home. She lived one block to the white side of the city’s racial housing dividing line, formerly known as Grove street (now Martin Luther King Jr. Boulevard).\u003c/p>\n\u003cp>At Berkeley’s Longfellow Elementary School, despite being in the Black neighborhood of South Berkeley, she saw racism firsthand. In class, Dawson says, she and the other Black kids were routinely overlooked when they raised their hands and over-punished when they got in trouble.\u003c/p>\n\u003cfigure id=\"attachment_13893150\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg\" alt=\"Cheryl Dawson in the 1970s.\" width=\"600\" height=\"832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.Wicker-160x222.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson in the 1970s. \u003ccite>(Courtesy Rev. Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says a brother as dark as she was once got in trouble, and a white teacher grabbed him by the scruff of his neck and put him under one of those old-fashioned wooden desks. The teacher then sat down and scooted her chair in. “She pinned him in like he was a dog or cat or something,” says Dawson. “The only thing he could do is look out from under the desk.”\u003c/p>\n\u003cp>The memory of the disobedient boy and the heavy-handed punishment stuck with her. Shortly afterward she learned about social workers, and how they helped people; especially people who looked like her. “At a very young age,” says Dawson, “I had a desire to do that, it was stamped in my heart. Unbeknownst to me, it would continue to manifest for the remainder of my life.”\u003c/p>\n\u003cp>She went on to attend Willard Junior High, which was much whiter, and well above the racial dividing line. After attending Berkeley High for the majority of her high school years, she graduated from Oakland Tech and went on to Cal State East Bay.\u003c/p>\n\u003cp>While she was in college, Dawson was invited to an event at Oakland City College where Black Panther Party for Self-Defense co-founder Bobby Seale was speaking. And the rest was history.\u003c/p>\n\u003cfigure id=\"attachment_13893143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/CherylDawson-800x532.jpg\" alt=\"Cheryl Dawson, seen here with her family.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/CherylDawson.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dawson, seen here with her children. \u003ccite>(Courtesy Cheryl Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ev. Dawson has no issue discussing details of her time in the Party, like bundling up her infant daughter at the early hour of “can’t see in the morning” so they could get to the Panther headquarters, serve the people and take political classes, only to return home at “can’t see at night.”\u003c/p>\n\u003cp>But what stands out from our conversation is Dawson periodically pausing to ask her grandchildren to “be careful while you’re doing that.”\u003c/p>\n\u003cp>Community service starts at home.\u003c/p>\n\u003cp>Dawson tells me she’s inspired by her great uncle, who left the south on a flatbed truck after being chased by the Klan. Once he settled in California, he sent for his sister, Dawson’s grandmother. Not too long after arriving in the Bay Area, Dawson’s grandmother and grandfather were wed through a marriage broker in West Oakland.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking highly of her four children, Dawson proudly mentions that two of her sons chose to change their names upon adulthood in an effort to shed their slave names.\u003c/p>\n\u003cp>Dawson holds a master’s degree in womanist theology from the American Baptist Seminary at UC Berkeley’s Graduate Theological Union, as well as an M.A. in women’s spirituality from San Francisco’s California Institute of Integral Studies. She was ordained as a reverend about five years ago, at the same place she served: the historic Beth Eden Baptist Church in West Oakland.\u003c/p>\n\u003cp>She tells me she just recently returned to the church, as nowadays spends most of her time with the grandchildren I heard in the background on our calls. And of course, she plans to take them to see the new mural featuring images of her comrades in West Oakland.\u003c/p>\n\u003cp>“The mural brings us from the margins to the center,” says Dawson of the artwork’s significance. “To turn the light on and say: I see you. And to further extend my view of connectivity and say, ‘I see you, because you are me.’ Just that alone is life-saving. And that’s what we were about in the Party: \u003cem>saving the lives of our people.\u003c/em>”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>The Rev. Cheryl Dawson recently spoke about her experiences with the Black Panther Party on the KQED podcast The Bay. \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Hear it here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>As part of ‘The Black Panther Party Celebration of Activism,’ Pendarvis Harshaw interviews Ryan Coogler, Marshawn Lynch, Marcus Roberts, Charles D. King and Josh Johnson, to be broadcast on Facebook Live and YouTube on Wednesday, Feb. 24, at noon PST. \u003ca href=\"https://www.oaklandrootssc.com/news_article/show/1146959\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A ‘Judas and the Black Messiah’ Screening, Mural Unveiling and More to Celebrate the Black Panthers",
"headTitle": "A ‘Judas and the Black Messiah’ Screening, Mural Unveiling and More to Celebrate the Black Panthers | KQED",
"content": "\u003cp>You can’t talk about Black history without mentioning the Black Panther Party. Their advocacy and activism laid the foundation for the contemporary Black Lives Matter movement, and shaped the current free school meal programs and community clinics serving Oakland throughout the COVID crisis.\u003c/p>\n\u003cp>Today kicked off a series of events in Oakland to celebrate the Black Panthers. Beginning with a \u003ca href=\"https://www.eventbrite.com/e/save-the-hampton-house-virtual-fundraising-gala-tickets-137374708451\" target=\"_blank\" rel=\"noopener noreferrer\">virtual fundraiser\u003c/a> to restore the late party chairman \u003ca href=\"https://www.gofundme.com/f/SaveTheHamptonHouse51\" target=\"_blank\" rel=\"noopener noreferrer\">Fred Hampton Sr.’s childhood home\u003c/a>, the programming will honor the party’s contributions through art, film, discussion and more.\u003c/p>\n\u003cp>On Feb. 14, a new mural honoring Ericka Huggins, Rev. Cheryl Dawson and the women of the Black Panther Party will become available for viewing on Jilchristina Vest’s private home in West Oakland, and there will be a \u003ca href=\"https://www.wbppmural.com/the-mural-project/the-unveiling\" target=\"_blank\" rel=\"noopener noreferrer\">virtual celebration and unveiling\u003c/a>. [aside postid='news_11858928']\u003c/p>\n\u003cp>Next Tuesday, Feb. 16, images of Dr. Huey P. Newton and the Black Panther Party will be displayed through light projections at the Alameda County Courthouse, where the Free Huey Movement began in 1968, starting at 5:30pm.\u003c/p>\n\u003cp>On the 17th, community members and elected officials will join Newton’s widow, Fredrika Newton—who is also president of the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a>—for the unveiling of the newly designated Dr. Huey P. Newton Way at 9am. Dr. Huey P. Newton Way is the new name of a three-block section of 9th Street near Mandela Parkway. [aside postid='arts_13874735']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Friday, Feb. 19, the festivities continue with a free drive-in movie screening of \u003ca href=\"https://participant.com/campaigns/live-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>\u003c/a> at Oakland’s Liberation Park at 5pm. The new film was produced by Oakland’s own Ryan Coogler as well as Charles D. King and Shaka King. Those who are interested can sign up on the \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation’s Instagram\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sSjtGqRXQ9Y&ab_channel=WarnerBros.Pictures\u003c/p>\n\u003cp>The events conclude with a virtual program on Feb. 24 featuring Black Panther Party alumni and Bay Area artists, activists and professional athletes in a conversation about the impacts of the Black Panther Party’s 10 Point Program, history and leadership. The conversation will be available to view online at 12pm via Instagram, YouTube and Facebook Live.\u003c/p>\n\u003cp>The Dr. Huey P. Newton Foundation will also unveil a bronze bust of Newton later this year, created by Bay Area sculptor Dana King. The bust will be placed on Dr. Huey P. Newton Way near Mandela Parkway.\u003c/p>\n\u003cp>“This Black History Month, I will reflect back on the beginnings of the Black Panther Party nearly 55 years ago, as well as on the countless tragedies against Black men and women just last year alone,” said Fredrika Newton in a statement. “With that in mind, I will move through 2021 with a renewed sense of empowerment and ask that we all find a way to stand on the shoulders of those who fought for Black Power in the past and successfully deliver it now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, follow the Huey P. Newton Foundation on \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t talk about Black history without mentioning the Black Panther Party. Their advocacy and activism laid the foundation for the contemporary Black Lives Matter movement, and shaped the current free school meal programs and community clinics serving Oakland throughout the COVID crisis.\u003c/p>\n\u003cp>Today kicked off a series of events in Oakland to celebrate the Black Panthers. Beginning with a \u003ca href=\"https://www.eventbrite.com/e/save-the-hampton-house-virtual-fundraising-gala-tickets-137374708451\" target=\"_blank\" rel=\"noopener noreferrer\">virtual fundraiser\u003c/a> to restore the late party chairman \u003ca href=\"https://www.gofundme.com/f/SaveTheHamptonHouse51\" target=\"_blank\" rel=\"noopener noreferrer\">Fred Hampton Sr.’s childhood home\u003c/a>, the programming will honor the party’s contributions through art, film, discussion and more.\u003c/p>\n\u003cp>On Feb. 14, a new mural honoring Ericka Huggins, Rev. Cheryl Dawson and the women of the Black Panther Party will become available for viewing on Jilchristina Vest’s private home in West Oakland, and there will be a \u003ca href=\"https://www.wbppmural.com/the-mural-project/the-unveiling\" target=\"_blank\" rel=\"noopener noreferrer\">virtual celebration and unveiling\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next Tuesday, Feb. 16, images of Dr. Huey P. Newton and the Black Panther Party will be displayed through light projections at the Alameda County Courthouse, where the Free Huey Movement began in 1968, starting at 5:30pm.\u003c/p>\n\u003cp>On the 17th, community members and elected officials will join Newton’s widow, Fredrika Newton—who is also president of the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a>—for the unveiling of the newly designated Dr. Huey P. Newton Way at 9am. Dr. Huey P. Newton Way is the new name of a three-block section of 9th Street near Mandela Parkway. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, Feb. 19, the festivities continue with a free drive-in movie screening of \u003ca href=\"https://participant.com/campaigns/live-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>\u003c/a> at Oakland’s Liberation Park at 5pm. The new film was produced by Oakland’s own Ryan Coogler as well as Charles D. King and Shaka King. Those who are interested can sign up on the \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation’s Instagram\u003c/a>.\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/sSjtGqRXQ9Y'\n title='//www.youtube.com/embed/sSjtGqRXQ9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The events conclude with a virtual program on Feb. 24 featuring Black Panther Party alumni and Bay Area artists, activists and professional athletes in a conversation about the impacts of the Black Panther Party’s 10 Point Program, history and leadership. The conversation will be available to view online at 12pm via Instagram, YouTube and Facebook Live.\u003c/p>\n\u003cp>The Dr. Huey P. Newton Foundation will also unveil a bronze bust of Newton later this year, created by Bay Area sculptor Dana King. The bust will be placed on Dr. Huey P. Newton Way near Mandela Parkway.\u003c/p>\n\u003cp>“This Black History Month, I will reflect back on the beginnings of the Black Panther Party nearly 55 years ago, as well as on the countless tragedies against Black men and women just last year alone,” said Fredrika Newton in a statement. “With that in mind, I will move through 2021 with a renewed sense of empowerment and ask that we all find a way to stand on the shoulders of those who fought for Black Power in the past and successfully deliver it now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, follow the Huey P. Newton Foundation on \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Director Shaka King's Long Journey to 'Judas and the Black Messiah'",
"headTitle": "Director Shaka King’s Long Journey to ‘Judas and the Black Messiah’ | KQED",
"content": "\u003cp>As the current chairman of the Black Panther Party Cubs, Fred Hampton, Jr. was guarded when he heard a studio wanted to make a movie about his late father, Fred Hampton. With good reason, too. The elder Hampton was the fiery and charismatic chairman of the Illinois Black Panther Party. The FBI had its eye on him through a program called COINTELPRO, where they would infiltrate groups like the Black Panthers and use information to launch disinformation smear campaigns.\u003c/p>\n\u003cp>Hampton was in the midst of corralling disparate, multi-racial groups under the banner of the Rainbow Coalition. The idea was to organize these groups to fight poverty and police brutality. Then, Chicago police shot and killed Hampton and another member of the Black Panther Party in an early morning raid. In an interview, Hampton, Jr. pointed out others have tried to make this movie without coming correct—no knowledge or respect for the legacy of Hampton and the Illinois Black Panther party. “Legacy,” he said, “is more important than our life.”\u003c/p>\n\u003cp>This is what director Shaka King was thinking about when he signed on to make \u003ca href=\"https://www.youtube.com/watch?v=sSjtGqRXQ9Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>,\u003c/a> the new movie about the life of Fred Hampton through the eyes of William O’Neal—the man who infiltrated the Black Panthers on behalf of the FBI. The pitch he got from the movie’s co-writers, Kenny and Keith Lucas, was a movie about Hampton and O’Neal that was like Martin Scorsese’s gangster film, \u003cem>The Departed, \u003c/em>but set inside the world of COINTELPRO. It didn’t take much beyond that. “I was like, I see it. I’m done. I’m in,” said King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sSjtGqRXQ9Y\u003c/p>\n\u003cp>The result is a tense, thrilling movie that draws as much from \u003cem>The Talented Mr. Ripley\u003c/em> as it does \u003cem>The Departed, \u003c/em>packaging Hampton’s radical politics beneath a sheen of high budget movie making. Dominique Fishback, who plays Hampton’s partner Deborah Johnson (now Akua Njeri), says she trusted King with Hampton’s legacy. “His confidence and ability to make an authentic story, but not at the cost of somebody’s life,” she said helped her feel more comfortable to make the acting choices she made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This big, complex movie with stakes bigger than any one person’s life is a big jump from King’s first movie, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=yLOofv38K6Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Newlyweeds\u003c/em>.\u003c/a> That movie tells the story of a young couple in Brooklyn who smoke a lot of weed. It’s tender and funny, hitting the same notes as movies from other indie darling directors such as Joe Swanberg or the Duplass brothers. And it got decent buzz when it went around the festival circuit. The Film Independent Spirit Awards gave King the Someone to Watch Award, which came with a $25,000 grant. [aside postid='arts_13851520']\u003c/p>\n\u003cp>But after that initial fanfare, King struggled to find buyers for the movie. “I was so depressed after making \u003cem>Newlyweeds\u003c/em>,” he said. It was a movie starring two Black actors who no one knew. “And at that time, that was deemed worthless,” said King.\u003c/p>\n\u003cp>2013 wasn’t that long ago. But it was before what a friend of King’s ironically dubbed the Black Excellence Industrial Complex, when movie studios realized you could make a lot of money releasing films by and starring Black people—\u003ca href=\"https://www.npr.org/sections/codeswitch/2014/12/27/373465623/for-hollywood-selma-is-a-new-kind-of-civil-rights-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma, \u003c/em>\u003c/a>\u003ca href=\"https://www.npr.org/2016/10/19/498395257/for-films-creators-moonlight-provided-space-to-explore-a-painful-past\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight,\u003c/em>\u003c/a> \u003ca href=\"https://www.npr.org/2018/02/15/585702642/director-ryan-coogler-says-black-panther-brought-him-closer-to-his-roots\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> and so on. The experience with \u003cem>Newlyweeds \u003c/em>burnt King out on the idea of making another feature film. “I stopped caring,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13892641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/rev-1-ufhp-05823r_high_res_jpeg_custom-e53612ac8bf593766aaa58a4c8bdd39c488390a7-800x534.jpe\" alt=\"Director Shaka King on the set of 'Judas and the Black Messiah.' The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O'Neal—the man who infiltrated the group on behalf of the FBI.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Director Shaka King on the set of ‘Judas and the Black Messiah.’ The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O’Neal—the man who infiltrated the group on behalf of the FBI. \u003ccite>(Glen Wilson/2021 Warner Bros. Entertainment Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Judas and the Black Messiah\u003c/em> producer, Charles D. King (no relation), didn’t know that about director Shaka King. As the head of Macro, which produces movies and TV shows by people of color including \u003cem>Judas\u003c/em>, Charles King is possibly one of the biggest names in the Black Excellence Industrial Complex. From his perch as producer, he’s seen young directors struggle with getting the momentum going for a second movie—particularly women and people of color. So he wasn’t surprised King felt the same way.\u003c/p>\n\u003cp>“It was before the \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/02/25/468002136/-oscarssowhite-forsolong\" target=\"_blank\" rel=\"noopener noreferrer\">#Oscarssowhite\u003c/a> moment of 2015,” said King. “A lot’s happened since then. There’s much more of an openness and I think an understanding of the business opportunity there.”\u003c/p>\n\u003cp>After \u003cem>Newlyweeds\u003c/em>, what tethered director King to the idea of moviemaking was a kind of silly, kind of outrageous idea he had rolling around in his head for a short satire, titled \u003ca href=\"https://vimeo.com/117064492\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mulignans, \u003c/em>\u003c/a>after the Italian slur for Black people that used to be heard frequently on the streets of Brooklyn. In it, King and two other actors play three Black guys who talk like they’re out of the Italian mobster movies King has such a fondness for. It was slightly inspired by his time growing up in a mostly Black part of Brooklyn, before going to school in South Brooklyn. There, he noticed that everyone—the Irish kids, the Greek kids, the Jewish kids, the Asian kids—all talked like the Italian kids.\u003c/p>\n\u003cp>“And those kids were hilarious,” said King. “They were profane, they were quick witted—we weren’t friends—but I could appreciate their sense of humor.”\u003c/p>\n\u003cp>The movie has the spirit and feel of hanging out with your friends while it concisely makes points about gender politics, race and gentrification. It reminded King of the sheer fun of making something just to see if you can. “That movie saved me,” he said. “It saved me.” [aside postid='arts_13888332']\u003c/p>\n\u003cp>King brought that energy to the challenge of making \u003cem>Judas and the Black Messiah, \u003c/em>a movie about a Black radical anti-capitalist, within the very capitalist world of Hollywood. “I’m completely aware of the myriad of contradictions that exist not only to try and make a movie like this, but me just wanting to have the kind of career I want to have, and the politics that I have and all of those co-existing,” he said.\u003c/p>\n\u003cp>Fred Hampton, Jr. was a consultant for the movie and on set during production. When I spoke with him, he said he was only just now able to watch the movie through the eyes of a regular audience member. He liked it well enough, though he wished they could’ve gotten some more of the politics in there. Then he smiled and said, “a revolutionary is never satisfied.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Director+Shaka+King%27s+Journey+From+%27Newlyweeds%27+To+%27The+Black+Messiah%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the current chairman of the Black Panther Party Cubs, Fred Hampton, Jr. was guarded when he heard a studio wanted to make a movie about his late father, Fred Hampton. With good reason, too. The elder Hampton was the fiery and charismatic chairman of the Illinois Black Panther Party. The FBI had its eye on him through a program called COINTELPRO, where they would infiltrate groups like the Black Panthers and use information to launch disinformation smear campaigns.\u003c/p>\n\u003cp>Hampton was in the midst of corralling disparate, multi-racial groups under the banner of the Rainbow Coalition. The idea was to organize these groups to fight poverty and police brutality. Then, Chicago police shot and killed Hampton and another member of the Black Panther Party in an early morning raid. In an interview, Hampton, Jr. pointed out others have tried to make this movie without coming correct—no knowledge or respect for the legacy of Hampton and the Illinois Black Panther party. “Legacy,” he said, “is more important than our life.”\u003c/p>\n\u003cp>This is what director Shaka King was thinking about when he signed on to make \u003ca href=\"https://www.youtube.com/watch?v=sSjtGqRXQ9Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>,\u003c/a> the new movie about the life of Fred Hampton through the eyes of William O’Neal—the man who infiltrated the Black Panthers on behalf of the FBI. The pitch he got from the movie’s co-writers, Kenny and Keith Lucas, was a movie about Hampton and O’Neal that was like Martin Scorsese’s gangster film, \u003cem>The Departed, \u003c/em>but set inside the world of COINTELPRO. It didn’t take much beyond that. “I was like, I see it. I’m done. I’m in,” said King.\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/sSjtGqRXQ9Y'\n title='//www.youtube.com/embed/sSjtGqRXQ9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The result is a tense, thrilling movie that draws as much from \u003cem>The Talented Mr. Ripley\u003c/em> as it does \u003cem>The Departed, \u003c/em>packaging Hampton’s radical politics beneath a sheen of high budget movie making. Dominique Fishback, who plays Hampton’s partner Deborah Johnson (now Akua Njeri), says she trusted King with Hampton’s legacy. “His confidence and ability to make an authentic story, but not at the cost of somebody’s life,” she said helped her feel more comfortable to make the acting choices she made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This big, complex movie with stakes bigger than any one person’s life is a big jump from King’s first movie, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=yLOofv38K6Y\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Newlyweeds\u003c/em>.\u003c/a> That movie tells the story of a young couple in Brooklyn who smoke a lot of weed. It’s tender and funny, hitting the same notes as movies from other indie darling directors such as Joe Swanberg or the Duplass brothers. And it got decent buzz when it went around the festival circuit. The Film Independent Spirit Awards gave King the Someone to Watch Award, which came with a $25,000 grant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after that initial fanfare, King struggled to find buyers for the movie. “I was so depressed after making \u003cem>Newlyweeds\u003c/em>,” he said. It was a movie starring two Black actors who no one knew. “And at that time, that was deemed worthless,” said King.\u003c/p>\n\u003cp>2013 wasn’t that long ago. But it was before what a friend of King’s ironically dubbed the Black Excellence Industrial Complex, when movie studios realized you could make a lot of money releasing films by and starring Black people—\u003ca href=\"https://www.npr.org/sections/codeswitch/2014/12/27/373465623/for-hollywood-selma-is-a-new-kind-of-civil-rights-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma, \u003c/em>\u003c/a>\u003ca href=\"https://www.npr.org/2016/10/19/498395257/for-films-creators-moonlight-provided-space-to-explore-a-painful-past\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight,\u003c/em>\u003c/a> \u003ca href=\"https://www.npr.org/2018/02/15/585702642/director-ryan-coogler-says-black-panther-brought-him-closer-to-his-roots\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> and so on. The experience with \u003cem>Newlyweeds \u003c/em>burnt King out on the idea of making another feature film. “I stopped caring,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13892641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/rev-1-ufhp-05823r_high_res_jpeg_custom-e53612ac8bf593766aaa58a4c8bdd39c488390a7-800x534.jpe\" alt=\"Director Shaka King on the set of 'Judas and the Black Messiah.' The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O'Neal—the man who infiltrated the group on behalf of the FBI.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Director Shaka King on the set of ‘Judas and the Black Messiah.’ The film chronicles the life of Illinois Black Panther Party leader Fred Hampton through the eyes of William O’Neal—the man who infiltrated the group on behalf of the FBI. \u003ccite>(Glen Wilson/2021 Warner Bros. Entertainment Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Judas and the Black Messiah\u003c/em> producer, Charles D. King (no relation), didn’t know that about director Shaka King. As the head of Macro, which produces movies and TV shows by people of color including \u003cem>Judas\u003c/em>, Charles King is possibly one of the biggest names in the Black Excellence Industrial Complex. From his perch as producer, he’s seen young directors struggle with getting the momentum going for a second movie—particularly women and people of color. So he wasn’t surprised King felt the same way.\u003c/p>\n\u003cp>“It was before the \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/02/25/468002136/-oscarssowhite-forsolong\" target=\"_blank\" rel=\"noopener noreferrer\">#Oscarssowhite\u003c/a> moment of 2015,” said King. “A lot’s happened since then. There’s much more of an openness and I think an understanding of the business opportunity there.”\u003c/p>\n\u003cp>After \u003cem>Newlyweeds\u003c/em>, what tethered director King to the idea of moviemaking was a kind of silly, kind of outrageous idea he had rolling around in his head for a short satire, titled \u003ca href=\"https://vimeo.com/117064492\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mulignans, \u003c/em>\u003c/a>after the Italian slur for Black people that used to be heard frequently on the streets of Brooklyn. In it, King and two other actors play three Black guys who talk like they’re out of the Italian mobster movies King has such a fondness for. It was slightly inspired by his time growing up in a mostly Black part of Brooklyn, before going to school in South Brooklyn. There, he noticed that everyone—the Irish kids, the Greek kids, the Jewish kids, the Asian kids—all talked like the Italian kids.\u003c/p>\n\u003cp>“And those kids were hilarious,” said King. “They were profane, they were quick witted—we weren’t friends—but I could appreciate their sense of humor.”\u003c/p>\n\u003cp>The movie has the spirit and feel of hanging out with your friends while it concisely makes points about gender politics, race and gentrification. It reminded King of the sheer fun of making something just to see if you can. “That movie saved me,” he said. “It saved me.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King brought that energy to the challenge of making \u003cem>Judas and the Black Messiah, \u003c/em>a movie about a Black radical anti-capitalist, within the very capitalist world of Hollywood. “I’m completely aware of the myriad of contradictions that exist not only to try and make a movie like this, but me just wanting to have the kind of career I want to have, and the politics that I have and all of those co-existing,” he said.\u003c/p>\n\u003cp>Fred Hampton, Jr. was a consultant for the movie and on set during production. When I spoke with him, he said he was only just now able to watch the movie through the eyes of a regular audience member. He liked it well enough, though he wished they could’ve gotten some more of the politics in there. Then he smiled and said, “a revolutionary is never satisfied.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Director+Shaka+King%27s+Journey+From+%27Newlyweeds%27+To+%27The+Black+Messiah%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Yahya Abdul-Mateen II on Playing Bobby Seale in 'The Trial of the Chicago 7'",
"headTitle": "Yahya Abdul-Mateen II on Playing Bobby Seale in ‘The Trial of the Chicago 7’ | KQED",
"content": "\u003cp>The new film \u003cem>The Trial of the Chicago 7\u003c/em> may be focused on the antiwar protests of the 1960s, but it draws distinct parallels to the protests in the streets, complaints about police violence and divisive politics that the U.S. faces today.\u003c/p>\n\u003cp>The film—which was written and directed by Aaron Sorkin and is out now on Netflix—follows eight different men who protested the Vietnam War at the 1968 Democratic National Convention in Chicago. [aside postid='arts_13854692']\u003c/p>\n\u003cp>Police cracked down on the protests, leaving hundreds injured and arrested. Months after the convention, a new administration led by President Richard Nixon charged the eight men with crossing state lines with the intent to start a riot. Several of the defendants did not know each other.\u003c/p>\n\u003cp>The infamous, months-long trial became known as the trial of the Chicago 7, even though eight people were on trial initially. The eighth defendant was Bobby Seale, co-founder of the Black Panther Party. Seale was the only Black defendant, and the judge, Julius Hoffman, treated him with particular bias.\u003c/p>\n\u003cp>Hoffman, played in the film by Frank Langella, refused to delay Seale’s trial, despite his lawyer having just had gallbladder surgery so he couldn’t be present. Each time Seale tried to bring this up and ask for a fair trial, Hoffman would dismiss him, and even had him bound and gagged in the courtroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it could also potentially be argued that Bobby Seale goaded the judge into silencing him in that violent way,” Yahya Abdul-Mateen II, who plays Seale in the film, told NPR’s \u003cem>All Things Considered\u003c/em>. “And that was a powerful move by Bobby Seale by outsmarting the judge, by outsmarting his oppressor, and he did it by speaking out in court, by being disruptive, by demanding justice, by demanding the rights that are afforded to him through the Constitution. And I think there’s a lesson to be learned about that, about one being educated about your own circumstances, being educated about the law, but then also the follow up is when you have the courage to stand up and speak through your conviction.”\u003c/p>\n\u003cp>Abdul-Mateen II told NPR’s Michel Martin about the connection between the film and the current fight for racial justice, and the weight of portraying such an important figure in U.S. history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FVb6EdKDBfU\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On playing Bobby Seale\u003c/strong>\u003c/p>\n\u003cp>It began to take on more meaning for me once I went and I looked up interviews of Bobby Seale. I really learned or started to get an idea for the dignity that this man had and about how he was robbed of his dignity during that trial. And I wanted to do two things with this role: I wanted to represent for Oakland [where Abdul-Mateen II grew up and where the Black Panthers were founded] and I wanted to advocate for Bobby Seale and for his experience, the experience that he had in this trial. And I knew that if I could step into those shoes and if I could go through that humiliation, that brutalization as Bobby Seale would call it. And if I could go through that and portray a victory, as opposed to a defeat, then I felt like I would be doing a good job.\u003c/p>\n\u003cp>\u003cstrong>On filming the scene in which Seale is bound and gagged\u003c/strong>\u003c/p>\n\u003cp>I think the best piece of information that I got from researching him was a quote when he was in prison during this case and he says when you’re a revolutionary, they can’t break your spirit. And he also knew that whatever they threw at him would be the worst thing that they could imagine. So, he talks about having the type of psychology where you understand your oppressor to the degree that whatever they throw at you, you have to understand that they’re only doing the things that they’re afraid to have done to them, so that when you persevere through that, it makes them afraid, and they stand back in amazement at how you’re able to withstand something that they could never be able to put themselves through. [aside postid='arts_10991338']\u003c/p>\n\u003cp>So, I tried to really arm myself with the idea that as a Black man, as a representative of myself, my people, my manhood, my dignity, that I would protect those things at all costs. And I wouldn’t allow someone else to dehumanize me. They may inflict pain or harm upon my body, but they won’t be able to take my humanity.\u003c/p>\n\u003cp>\u003cstrong>On the importance of allyship\u003c/strong>\u003c/p>\n\u003cp>I think if you look at 1968 and you look at right now, even if you look at what’s going on over in Nigeria right now, it’s police overstepping their boundaries and it’s gross to the level that no one can ignore it. There’s a refrain in the film that says the “whole world is watching.” And I think that’s one of the things that is causing all of the allies to come out now. And I think allyship is very important. I think everybody has a role in the revolution, so to speak.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think when it comes to allyship, it’s very, very important to understand that if you want a role in the movement, then that’s not going to always look the same. Just speaking of allyship and bringing it back to the film, Sacha [Baron-Cohen, who plays activist Abbie Hoffman] was one of my biggest allies on the movie. During the moments where I had to go into the back and reenact the bound and gagged scene. He didn’t have to, but he came in the back, just being there, being supportive, saying, “Hey, do you need anything? Is that too tight? Are you comfortable? You don’t have to do this if you don’t want to. If you don’t want to do another take, make sure that you speak up. If you’re not comfortable speaking up, I’ll do it for you.” That’s a certain type of allyship that’s equally important as being out there on the front lines saying Black Lives Matter.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yahya+Abdul-Mateen+II+On+Playing+Bobby+Seale+In+%27The+Trial+Of+The+Chicago+7%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new film \u003cem>The Trial of the Chicago 7\u003c/em> may be focused on the antiwar protests of the 1960s, but it draws distinct parallels to the protests in the streets, complaints about police violence and divisive politics that the U.S. faces today.\u003c/p>\n\u003cp>The film—which was written and directed by Aaron Sorkin and is out now on Netflix—follows eight different men who protested the Vietnam War at the 1968 Democratic National Convention in Chicago. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Police cracked down on the protests, leaving hundreds injured and arrested. Months after the convention, a new administration led by President Richard Nixon charged the eight men with crossing state lines with the intent to start a riot. Several of the defendants did not know each other.\u003c/p>\n\u003cp>The infamous, months-long trial became known as the trial of the Chicago 7, even though eight people were on trial initially. The eighth defendant was Bobby Seale, co-founder of the Black Panther Party. Seale was the only Black defendant, and the judge, Julius Hoffman, treated him with particular bias.\u003c/p>\n\u003cp>Hoffman, played in the film by Frank Langella, refused to delay Seale’s trial, despite his lawyer having just had gallbladder surgery so he couldn’t be present. Each time Seale tried to bring this up and ask for a fair trial, Hoffman would dismiss him, and even had him bound and gagged in the courtroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it could also potentially be argued that Bobby Seale goaded the judge into silencing him in that violent way,” Yahya Abdul-Mateen II, who plays Seale in the film, told NPR’s \u003cem>All Things Considered\u003c/em>. “And that was a powerful move by Bobby Seale by outsmarting the judge, by outsmarting his oppressor, and he did it by speaking out in court, by being disruptive, by demanding justice, by demanding the rights that are afforded to him through the Constitution. And I think there’s a lesson to be learned about that, about one being educated about your own circumstances, being educated about the law, but then also the follow up is when you have the courage to stand up and speak through your conviction.”\u003c/p>\n\u003cp>Abdul-Mateen II told NPR’s Michel Martin about the connection between the film and the current fight for racial justice, and the weight of portraying such an important figure in U.S. history.\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/FVb6EdKDBfU'\n title='//www.youtube.com/embed/FVb6EdKDBfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On playing Bobby Seale\u003c/strong>\u003c/p>\n\u003cp>It began to take on more meaning for me once I went and I looked up interviews of Bobby Seale. I really learned or started to get an idea for the dignity that this man had and about how he was robbed of his dignity during that trial. And I wanted to do two things with this role: I wanted to represent for Oakland [where Abdul-Mateen II grew up and where the Black Panthers were founded] and I wanted to advocate for Bobby Seale and for his experience, the experience that he had in this trial. And I knew that if I could step into those shoes and if I could go through that humiliation, that brutalization as Bobby Seale would call it. And if I could go through that and portray a victory, as opposed to a defeat, then I felt like I would be doing a good job.\u003c/p>\n\u003cp>\u003cstrong>On filming the scene in which Seale is bound and gagged\u003c/strong>\u003c/p>\n\u003cp>I think the best piece of information that I got from researching him was a quote when he was in prison during this case and he says when you’re a revolutionary, they can’t break your spirit. And he also knew that whatever they threw at him would be the worst thing that they could imagine. So, he talks about having the type of psychology where you understand your oppressor to the degree that whatever they throw at you, you have to understand that they’re only doing the things that they’re afraid to have done to them, so that when you persevere through that, it makes them afraid, and they stand back in amazement at how you’re able to withstand something that they could never be able to put themselves through. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, I tried to really arm myself with the idea that as a Black man, as a representative of myself, my people, my manhood, my dignity, that I would protect those things at all costs. And I wouldn’t allow someone else to dehumanize me. They may inflict pain or harm upon my body, but they won’t be able to take my humanity.\u003c/p>\n\u003cp>\u003cstrong>On the importance of allyship\u003c/strong>\u003c/p>\n\u003cp>I think if you look at 1968 and you look at right now, even if you look at what’s going on over in Nigeria right now, it’s police overstepping their boundaries and it’s gross to the level that no one can ignore it. There’s a refrain in the film that says the “whole world is watching.” And I think that’s one of the things that is causing all of the allies to come out now. And I think allyship is very important. I think everybody has a role in the revolution, so to speak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think when it comes to allyship, it’s very, very important to understand that if you want a role in the movement, then that’s not going to always look the same. Just speaking of allyship and bringing it back to the film, Sacha [Baron-Cohen, who plays activist Abbie Hoffman] was one of my biggest allies on the movie. During the moments where I had to go into the back and reenact the bound and gagged scene. He didn’t have to, but he came in the back, just being there, being supportive, saying, “Hey, do you need anything? Is that too tight? Are you comfortable? You don’t have to do this if you don’t want to. If you don’t want to do another take, make sure that you speak up. If you’re not comfortable speaking up, I’ll do it for you.” That’s a certain type of allyship that’s equally important as being out there on the front lines saying Black Lives Matter.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yahya+Abdul-Mateen+II+On+Playing+Bobby+Seale+In+%27The+Trial+Of+The+Chicago+7%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "huey-newton-was-freed-50-years-ago-today-whats-really-changed",
"title": "Huey Newton Was Freed 50 Years Ago. What's Really Changed?",
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"headTitle": "Huey Newton Was Freed 50 Years Ago. What’s Really Changed? | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Black Panther Party co-founder Huey P. Newton was released from Oakland’s Alameda County Courthouse 50 years ago, on Aug. 5, 1970, he scaled the top of a car and looked out to the crowd of people gathered in support.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" target=\"_blank\" rel=\"noopener noreferrer\">Footage\u003c/a> shows all eyes on Newton. He’d \u003ca href=\"https://www.rollingstone.com/culture/culture-news/huey-newton-twenty-five-floors-from-the-street-176820/\">later tell \u003cem>Rolling Stone\u003c/em>\u003c/a> that taking off his prison-issue shirt wasn’t necessarily intended to be a symbolic gesture; it was just the consequence of it being a hot day in August. Nevertheless, Newton stood atop the automobile, shirtless, arm muscles big enough to lift the courthouse he just walked out of, as he addressed the crowd. News cameras rolled as he told those within earshot his soft-spoken words: “You have the power, and the power is with the people.”\u003c/p>\n\u003cp>Last month, on Sunday, July 26, I drove two circles around the Alameda County Courthouse to observe the damage from the night before. The windows were busted, the walls of the joint were tattooed with anti-police graffiti, and burn marks remained from a fire started just inside of the building’s main entry (it was extinguished before causing any major damage). The damage occurred after a protest spearheaded by a group of people said to be in solidarity with the Black Lives Matter protests in Portland, Oregon. The people who actually vandalized the courthouse, and those who did a number on the federal building and Oakland Police headquarters nearby, remain unidentified.\u003c/p>\n\u003cp>I took a picture of the courthouse that Sunday morning and posted it on social media. Many responses hypothesized about the people who did the damage, where they were from, and what their intentions were. Journalist Rasheed Shabazz responded by wondering: where’s the “Free Huey” message?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>50 years after Huey was freed, that same courthouse is one of the many battlegrounds in the current fight for liberation and justice—but is it the \u003cem>same \u003c/em>fight?\u003c/p>\n\u003cfigure id=\"attachment_13884382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg\" alt=\"The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1536x1117.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1920x1397.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters the night before. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>round 5am on Oct. 28, 1967, Huey P. Newton was driving a Volkswagen with passenger Gene McKinney when he hit the corner of 7th and Willow Street in West Oakland, \u003ca href=\"https://law.justia.com/cases/california/court-of-appeal/3d/8/359.html\" target=\"_blank\" rel=\"noopener noreferrer\">according to court documents\u003c/a>. That’s where he was pulled over by Oakland Police Officer John Frey; the officer called for backup immediately, which brought Officer Herbert Heanes to the scene.\u003c/p>\n\u003cp>From there, the details get sketchy. There’s a story of Newton being asked to exit his car, and him doing so, law book in hand. There’s a report that Officer Frey might’ve called Newton a derogatory term after telling Newton where he could shove that law book. From all accounts I’ve read, commotion ensued from that point. Shots were fired and Newton was hit in the abdomen. Both officers were hit multiple times. Officer Frey died from his wounds. Officer Heanes survived.\u003c/p>\n\u003cp>The only fired rounds of ammunition retrieved from the scene were police-issued.\u003c/p>\n\u003cp>Huey, reportedly in and out of consciousness, ended up at Kaiser hospital, where he was simultaneously arrested and treated for his wounds. Photos show him \u003ca href=\"https://www.blackresearchcentral.com/uploads/4/1/3/7/4137870/733529614-huey-p-newton-handcuffed-to-hospital-bed-after-killing-cop_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">handcuffed to a medical bed\u003c/a>.\u003c/p>\n\u003cp>In 1968, Newton went to trial and was found guilty of manslaughter. His attorney, Charles Garry, brought the case to the California Courts of Appeal. In May of 1970, it was found that the judge in the first trial held back relevant information to the jury—namely, that Newton’s contention that he was unconscious at the time Officer Frey was shot constituted a complete defense of manslaughter.\u003c/p>\n\u003cp>Police brutality, shoddy evidence and a court system failing to do its job. Similar circumstances exist nowadays.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The killing of George Floyd, during which multiple officers not only abused their power but also failed to check their coworker, showed that it’s not just about one bad cop. The death of Breonna Taylor, in which officers abused their power \u003cem>and\u003c/em> those in higher office have failed to bring justice, proves that the issues go beyond the officers patrolling the streets.\u003c/p>\n\u003cp>And here in the Bay Area, there’s a long list of similar evidence: you can see recent examples in the California Highway Patrol withholding details in the killing of \u003ca href=\"https://twitter.com/DarwinBondGraha/status/1289363881836425217?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Erik Salgado\u003c/a> in East Oakland, and the Vallejo Police Department \u003ca href=\"https://www.kqed.org/forum/2010101878756/destruction-of-evidence-in-vallejo-police-shooting-spurs-calls-for-federal-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">destroying evidence\u003c/a> in the killing of Sean Monterrosa.\u003c/p>\n\u003cfigure id=\"attachment_13884376\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/FredHamptonGrave-800x1055.jpg\" alt=\"The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA.\" width=\"600\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA. \u003ccite>(Courtesy \u003ca href=\"https://www.instagram.com/rasceylon/?hl=en\" target=\"_blank\">Ras Ceylon\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he larger context of Huey P. Newton’s arrest was an all-out war waged on the Black Panther Party, Black Nationalists and Communists, concentrated in the counterintelligence program (\u003ca href=\"https://vault.fbi.gov/cointel-pro\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>), which was spearheaded by former FBI Director J. Edgar Hoover.\u003c/p>\n\u003cp>This led to the spread of misinformation and the insurgence of agent provocateurs in numerous groups. It also led to the incarceration of numerous Black Panther members and the killings of Black Panther leaders Mark Clark and Fred Hampton, Sr.\u003c/p>\n\u003cp>It’s a stretch to say that unmarked federal agents at protests in Portland and New York are any comparison to the FBI’s massive effort to stop the rise of a singular “Black Messiah,” one of the \u003ca href=\"https://herb.ashp.cuny.edu/items/show/814\" target=\"_blank\" rel=\"noopener noreferrer\">goals of COINTELPRO\u003c/a>. But there’s something eerily similar about the federal government turning on its own people for the act of holding the government accountable.\u003c/p>\n\u003cp>Footage of the federal troops in Portland shocked many, but realistically, it was a natural result of years of heightened state oppression. In 1970, when Newton was released after serving over two years at the California Men’s Colony in San Luis Obispo, California’s prison population was 25,033. It would decline to 16,970 in 1972 before skyrocketing over the next four decades.\u003c/p>\n\u003cp>Over-policing, over-sentencing, “three strikes” laws, the cocaine/crack disparity and mandatory minimums, combined with the demonization of African American youth in the media (see: “\u003ca href=\"https://www.youtube.com/watch?v=mZ4Z-803JZE\" target=\"_blank\" rel=\"noopener noreferrer\">superpredators\u003c/a>“), all made for a prolonged prison boom.\u003c/p>\n\u003cp>For years, the conditions of California’s jails, prisons, juvenile detention centers and ICE facilities have been somewhere between poor and uninhabitable. They have seen prison strikes, riots, and numerous deaths. In 2011, \u003ca href=\"https://www.supremecourt.gov/opinions/10pdf/09-1233.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">the Supreme Court ruled\u003c/a> that the health conditions at California’s prisons constituted a violation of prisoners’ Eighth Amendment rights protecting them from cruel and unusual punishment. The state was ordered to cut its prison population down from a high of over 160,000 to 110,000, or 137.5% of its capacity.\u003c/p>\n\u003cp>A decade later, after numerous legislative changes, a process called “\u003ca href=\"https://www.propublica.org/article/guide-to-california-prisons\" target=\"_blank\" rel=\"noopener noreferrer\">realignment\u003c/a>,” and expedited releases in effort to stop the spread of COVID-19, just last month the overall prison population dropped below 100,000 for the first time in three decades. As of last week, \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2020/07/Tpop1d200729.pdf\">California’s prison population is at 114%\u003c/a> of its capacity—meaning that although it’s finally well below federal guidelines, there are still more people behind bars than they were designed to hold.\u003c/p>\n\u003cp>Because of that, this past weekend a group by the name \u003ca href=\"https://www.instagram.com/nojusticeundercapitalism/\" target=\"_blank\" rel=\"noopener noreferrer\">No Justice Under Capitalism\u003c/a> helped to organize protests at San Quentin, where inside the facility about 1/3 of the population has reportedly contracted COVID, and \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">over 22 people have died\u003c/a> from the virus. Also, last week, demonstrators gathered in front of Governor Gavin Newsom’s house to protest conditions faced by people in California’s prisons and ICE custody. The 14 protestors \u003ca href=\"https://ciyja.org/wp-content/uploads/2020/07/FreeThemAll14.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">were then arrested\u003c/a>, and experienced the conditions firsthand.\u003c/p>\n\u003cfigure id=\"attachment_13884375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg\" alt=\"Huey P. Newton and Billy X, archivist for the Black Panther Party, together in the 1980s.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huey P. Newton with Billy X, archivist for the Black Panther Party. \u003ccite>(Courtesy Billy X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he graffiti on the courthouse that Sunday morning in July was markedly different than everything else that’s adorned the walls of downtown Oakland over the past few months. Earlier this summer, in response to threats of vandalism, businesses covered their windows with plywood, providing the perfect canvas for artists to express themselves. In the \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener noreferrer\">open-air art gallery\u003c/a> were raised painted images of Black fists, the names of those slain by police officers, and a mural or two bearing the Black Panther logo.\u003c/p>\n\u003cp>Although Oakland has no permanent monument dedicated to the Black Panther Party, the ideals the party stood for are alive today. They’re shown through the city’s arts and culture, if nowhere else.\u003c/p>\n\u003cp>A plaque on 55th and Market, dedicated to the Black Panthers’ efforts to establish a crossing light for schoolchildren at the former site of Santa Fe Elementary School. A portion of DeFremery Park officially dedicated to Lil Bobby Hutton, the first and youngest Black Panther to be killed by the police.\u003c/p>\n\u003cp>There are multiple murals around the town honoring the Panthers’ legacy, many of them done by artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Refa-1\u003c/a>. And with guidance from Black Panther leader Ericka Huggins, \u003ca href=\"https://www.kickstarter.com/projects/jilchristinavest/mural-the-women-of-the-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Jilchristina Vest\u003c/a> is developing a mural in West Oakland dedicated to the women of the party.\u003c/p>\n\u003cp>Last month, council member Lynette McElhaney introduced a resolution to rename 9th Street between Center Street and Chester Street—the place where Newton was shot and killed in 1989—as “Dr. Huey P. Newton Way.”\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/about-the-foundation\" target=\"_blank\" rel=\"noopener noreferrer\">The Dr. Huey P. Newton Foundation\u003c/a>, with the support of Huey’s widow Fredrika Newton, is currently pushing for a permanent monument honoring Huey in front of the courthouse, among other things.\u003c/p>\n\u003cp>And the Oakland Museum of California is currently remodeling its building and creating an entrance/exit not too far from the proposed monument site. The OMCA knows the impact of the Panthers’ legacy: their 50th anniversary exhibition dedicated to the Party attracted the highest number of attendees in the museum’s history.\u003c/p>\n\u003cfigure id=\"attachment_12278228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12278228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/13th_01-800x450.jpg\" alt=\"Angela Davis speaks inside West Oakland's abandoned 16th Street train station, in a still from Ava DuVernay's '13th.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks inside West Oakland’s abandoned 16th Street train station, in a still from Ava DuVernay’s ’13th.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ertain things today are clear connections to the past. Dr. Angela Davis continues to appear at both \u003ca href=\"https://twitter.com/CalEndow/status/1276183690289258497\" target=\"_blank\" rel=\"noopener noreferrer\">protests\u003c/a> and \u003ca href=\"https://twitter.com/ShelleDione/status/998622334717124609\" target=\"_blank\" rel=\"noopener noreferrer\">gatherings of Black joy\u003c/a>. There are former Panthers, like \u003ca href=\"https://www.theguardian.com/commentisfree/2020/jun/01/jalil-muntaqim-former-black-panther-covid-19-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Jalil Muntaqim\u003c/a>, who are still incarcerated.\u003c/p>\n\u003cp>Ericka Huggins is still active, working in education. Joan Tarika Lewis is using social media to remain engaged in arts, culture and politics. Fred Hampton Jr. is pushing to \u003ca href=\"https://southsideweekly.com/bigger-than-a-building-hampton-home/\" target=\"_blank\" rel=\"noopener noreferrer\">preserve his father’s childhood house\u003c/a> in Chicago. And Black Panther archivist Billy X Jennings tells me he would’ve helped organize a celebration in honor of Dr. Huey P. Newton today if it weren’t for precautions around large gatherings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, radio host and author of \u003cem>Party Music\u003c/em>, a book about the Black Panther Party’s house band \u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener noreferrer\">The Lumpen\u003c/a>, told me he’s noticed a few drastic differences between the two eras of protest. For starters, there is no clear leader of this current movement, no “Black Messiah,” for better or for worse. And secondly, while Newton himself advocated for \u003ca href=\"https://www.youtube.com/watch?time_continue=5&v=W3ZV9ingN7g&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">freeing all political prisoners\u003c/a>, there is no clear end goal, as there was with the Free Huey movement.\u003c/p>\n\u003cp>At this point, the phrase “Black Lives Matter” has lost whatever teeth it had to start with. Calls to defund the police, while attention-grabbing, remain a nuanced goal, with room for contention. Still, clear end goals exist with specific actionable demands that everyday people can understand, like instructions to \u003ca href=\"https://www.rollingstone.com/culture/culture-news/breonna-taylor-demand-justice-1015060/\" target=\"_blank\" rel=\"noopener noreferrer\">call the District Attorney’s office and demand justice for Breonna Taylor\u003c/a>—that’s where actual change comes from.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What if we focused the next 50 years on specific actionable items to change the justice and prison systems? Now \u003cem>that’d\u003c/em> be a monumental change to the function of the Alameda County Courthouse. And it’d honor Huey P. Newton and the Black Panther Party in the best way possible—to truly bring the power to the people.\u003c/p>\n\n",
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"excerpt": "Looking back on the Black Panther cofounder's legacy, and its relation to today's Black Lives Matter movement.",
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"title": "Huey Newton Was Freed 50 Years Ago. What's Really Changed? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Black Panther Party co-founder Huey P. Newton was released from Oakland’s Alameda County Courthouse 50 years ago, on Aug. 5, 1970, he scaled the top of a car and looked out to the crowd of people gathered in support.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" target=\"_blank\" rel=\"noopener noreferrer\">Footage\u003c/a> shows all eyes on Newton. He’d \u003ca href=\"https://www.rollingstone.com/culture/culture-news/huey-newton-twenty-five-floors-from-the-street-176820/\">later tell \u003cem>Rolling Stone\u003c/em>\u003c/a> that taking off his prison-issue shirt wasn’t necessarily intended to be a symbolic gesture; it was just the consequence of it being a hot day in August. Nevertheless, Newton stood atop the automobile, shirtless, arm muscles big enough to lift the courthouse he just walked out of, as he addressed the crowd. News cameras rolled as he told those within earshot his soft-spoken words: “You have the power, and the power is with the people.”\u003c/p>\n\u003cp>Last month, on Sunday, July 26, I drove two circles around the Alameda County Courthouse to observe the damage from the night before. The windows were busted, the walls of the joint were tattooed with anti-police graffiti, and burn marks remained from a fire started just inside of the building’s main entry (it was extinguished before causing any major damage). The damage occurred after a protest spearheaded by a group of people said to be in solidarity with the Black Lives Matter protests in Portland, Oregon. The people who actually vandalized the courthouse, and those who did a number on the federal building and Oakland Police headquarters nearby, remain unidentified.\u003c/p>\n\u003cp>I took a picture of the courthouse that Sunday morning and posted it on social media. Many responses hypothesized about the people who did the damage, where they were from, and what their intentions were. Journalist Rasheed Shabazz responded by wondering: where’s the “Free Huey” message?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50 years after Huey was freed, that same courthouse is one of the many battlegrounds in the current fight for liberation and justice—but is it the \u003cem>same \u003c/em>fight?\u003c/p>\n\u003cfigure id=\"attachment_13884382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg\" alt=\"The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1536x1117.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1920x1397.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters the night before. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>round 5am on Oct. 28, 1967, Huey P. Newton was driving a Volkswagen with passenger Gene McKinney when he hit the corner of 7th and Willow Street in West Oakland, \u003ca href=\"https://law.justia.com/cases/california/court-of-appeal/3d/8/359.html\" target=\"_blank\" rel=\"noopener noreferrer\">according to court documents\u003c/a>. That’s where he was pulled over by Oakland Police Officer John Frey; the officer called for backup immediately, which brought Officer Herbert Heanes to the scene.\u003c/p>\n\u003cp>From there, the details get sketchy. There’s a story of Newton being asked to exit his car, and him doing so, law book in hand. There’s a report that Officer Frey might’ve called Newton a derogatory term after telling Newton where he could shove that law book. From all accounts I’ve read, commotion ensued from that point. Shots were fired and Newton was hit in the abdomen. Both officers were hit multiple times. Officer Frey died from his wounds. Officer Heanes survived.\u003c/p>\n\u003cp>The only fired rounds of ammunition retrieved from the scene were police-issued.\u003c/p>\n\u003cp>Huey, reportedly in and out of consciousness, ended up at Kaiser hospital, where he was simultaneously arrested and treated for his wounds. Photos show him \u003ca href=\"https://www.blackresearchcentral.com/uploads/4/1/3/7/4137870/733529614-huey-p-newton-handcuffed-to-hospital-bed-after-killing-cop_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">handcuffed to a medical bed\u003c/a>.\u003c/p>\n\u003cp>In 1968, Newton went to trial and was found guilty of manslaughter. His attorney, Charles Garry, brought the case to the California Courts of Appeal. In May of 1970, it was found that the judge in the first trial held back relevant information to the jury—namely, that Newton’s contention that he was unconscious at the time Officer Frey was shot constituted a complete defense of manslaughter.\u003c/p>\n\u003cp>Police brutality, shoddy evidence and a court system failing to do its job. Similar circumstances exist nowadays.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The killing of George Floyd, during which multiple officers not only abused their power but also failed to check their coworker, showed that it’s not just about one bad cop. The death of Breonna Taylor, in which officers abused their power \u003cem>and\u003c/em> those in higher office have failed to bring justice, proves that the issues go beyond the officers patrolling the streets.\u003c/p>\n\u003cp>And here in the Bay Area, there’s a long list of similar evidence: you can see recent examples in the California Highway Patrol withholding details in the killing of \u003ca href=\"https://twitter.com/DarwinBondGraha/status/1289363881836425217?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Erik Salgado\u003c/a> in East Oakland, and the Vallejo Police Department \u003ca href=\"https://www.kqed.org/forum/2010101878756/destruction-of-evidence-in-vallejo-police-shooting-spurs-calls-for-federal-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">destroying evidence\u003c/a> in the killing of Sean Monterrosa.\u003c/p>\n\u003cfigure id=\"attachment_13884376\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/FredHamptonGrave-800x1055.jpg\" alt=\"The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA.\" width=\"600\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA. \u003ccite>(Courtesy \u003ca href=\"https://www.instagram.com/rasceylon/?hl=en\" target=\"_blank\">Ras Ceylon\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he larger context of Huey P. Newton’s arrest was an all-out war waged on the Black Panther Party, Black Nationalists and Communists, concentrated in the counterintelligence program (\u003ca href=\"https://vault.fbi.gov/cointel-pro\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>), which was spearheaded by former FBI Director J. Edgar Hoover.\u003c/p>\n\u003cp>This led to the spread of misinformation and the insurgence of agent provocateurs in numerous groups. It also led to the incarceration of numerous Black Panther members and the killings of Black Panther leaders Mark Clark and Fred Hampton, Sr.\u003c/p>\n\u003cp>It’s a stretch to say that unmarked federal agents at protests in Portland and New York are any comparison to the FBI’s massive effort to stop the rise of a singular “Black Messiah,” one of the \u003ca href=\"https://herb.ashp.cuny.edu/items/show/814\" target=\"_blank\" rel=\"noopener noreferrer\">goals of COINTELPRO\u003c/a>. But there’s something eerily similar about the federal government turning on its own people for the act of holding the government accountable.\u003c/p>\n\u003cp>Footage of the federal troops in Portland shocked many, but realistically, it was a natural result of years of heightened state oppression. In 1970, when Newton was released after serving over two years at the California Men’s Colony in San Luis Obispo, California’s prison population was 25,033. It would decline to 16,970 in 1972 before skyrocketing over the next four decades.\u003c/p>\n\u003cp>Over-policing, over-sentencing, “three strikes” laws, the cocaine/crack disparity and mandatory minimums, combined with the demonization of African American youth in the media (see: “\u003ca href=\"https://www.youtube.com/watch?v=mZ4Z-803JZE\" target=\"_blank\" rel=\"noopener noreferrer\">superpredators\u003c/a>“), all made for a prolonged prison boom.\u003c/p>\n\u003cp>For years, the conditions of California’s jails, prisons, juvenile detention centers and ICE facilities have been somewhere between poor and uninhabitable. They have seen prison strikes, riots, and numerous deaths. In 2011, \u003ca href=\"https://www.supremecourt.gov/opinions/10pdf/09-1233.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">the Supreme Court ruled\u003c/a> that the health conditions at California’s prisons constituted a violation of prisoners’ Eighth Amendment rights protecting them from cruel and unusual punishment. The state was ordered to cut its prison population down from a high of over 160,000 to 110,000, or 137.5% of its capacity.\u003c/p>\n\u003cp>A decade later, after numerous legislative changes, a process called “\u003ca href=\"https://www.propublica.org/article/guide-to-california-prisons\" target=\"_blank\" rel=\"noopener noreferrer\">realignment\u003c/a>,” and expedited releases in effort to stop the spread of COVID-19, just last month the overall prison population dropped below 100,000 for the first time in three decades. As of last week, \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2020/07/Tpop1d200729.pdf\">California’s prison population is at 114%\u003c/a> of its capacity—meaning that although it’s finally well below federal guidelines, there are still more people behind bars than they were designed to hold.\u003c/p>\n\u003cp>Because of that, this past weekend a group by the name \u003ca href=\"https://www.instagram.com/nojusticeundercapitalism/\" target=\"_blank\" rel=\"noopener noreferrer\">No Justice Under Capitalism\u003c/a> helped to organize protests at San Quentin, where inside the facility about 1/3 of the population has reportedly contracted COVID, and \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">over 22 people have died\u003c/a> from the virus. Also, last week, demonstrators gathered in front of Governor Gavin Newsom’s house to protest conditions faced by people in California’s prisons and ICE custody. The 14 protestors \u003ca href=\"https://ciyja.org/wp-content/uploads/2020/07/FreeThemAll14.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">were then arrested\u003c/a>, and experienced the conditions firsthand.\u003c/p>\n\u003cfigure id=\"attachment_13884375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg\" alt=\"Huey P. Newton and Billy X, archivist for the Black Panther Party, together in the 1980s.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huey P. Newton with Billy X, archivist for the Black Panther Party. \u003ccite>(Courtesy Billy X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he graffiti on the courthouse that Sunday morning in July was markedly different than everything else that’s adorned the walls of downtown Oakland over the past few months. Earlier this summer, in response to threats of vandalism, businesses covered their windows with plywood, providing the perfect canvas for artists to express themselves. In the \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener noreferrer\">open-air art gallery\u003c/a> were raised painted images of Black fists, the names of those slain by police officers, and a mural or two bearing the Black Panther logo.\u003c/p>\n\u003cp>Although Oakland has no permanent monument dedicated to the Black Panther Party, the ideals the party stood for are alive today. They’re shown through the city’s arts and culture, if nowhere else.\u003c/p>\n\u003cp>A plaque on 55th and Market, dedicated to the Black Panthers’ efforts to establish a crossing light for schoolchildren at the former site of Santa Fe Elementary School. A portion of DeFremery Park officially dedicated to Lil Bobby Hutton, the first and youngest Black Panther to be killed by the police.\u003c/p>\n\u003cp>There are multiple murals around the town honoring the Panthers’ legacy, many of them done by artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Refa-1\u003c/a>. And with guidance from Black Panther leader Ericka Huggins, \u003ca href=\"https://www.kickstarter.com/projects/jilchristinavest/mural-the-women-of-the-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Jilchristina Vest\u003c/a> is developing a mural in West Oakland dedicated to the women of the party.\u003c/p>\n\u003cp>Last month, council member Lynette McElhaney introduced a resolution to rename 9th Street between Center Street and Chester Street—the place where Newton was shot and killed in 1989—as “Dr. Huey P. Newton Way.”\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/about-the-foundation\" target=\"_blank\" rel=\"noopener noreferrer\">The Dr. Huey P. Newton Foundation\u003c/a>, with the support of Huey’s widow Fredrika Newton, is currently pushing for a permanent monument honoring Huey in front of the courthouse, among other things.\u003c/p>\n\u003cp>And the Oakland Museum of California is currently remodeling its building and creating an entrance/exit not too far from the proposed monument site. The OMCA knows the impact of the Panthers’ legacy: their 50th anniversary exhibition dedicated to the Party attracted the highest number of attendees in the museum’s history.\u003c/p>\n\u003cfigure id=\"attachment_12278228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12278228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/13th_01-800x450.jpg\" alt=\"Angela Davis speaks inside West Oakland's abandoned 16th Street train station, in a still from Ava DuVernay's '13th.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks inside West Oakland’s abandoned 16th Street train station, in a still from Ava DuVernay’s ’13th.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ertain things today are clear connections to the past. Dr. Angela Davis continues to appear at both \u003ca href=\"https://twitter.com/CalEndow/status/1276183690289258497\" target=\"_blank\" rel=\"noopener noreferrer\">protests\u003c/a> and \u003ca href=\"https://twitter.com/ShelleDione/status/998622334717124609\" target=\"_blank\" rel=\"noopener noreferrer\">gatherings of Black joy\u003c/a>. There are former Panthers, like \u003ca href=\"https://www.theguardian.com/commentisfree/2020/jun/01/jalil-muntaqim-former-black-panther-covid-19-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Jalil Muntaqim\u003c/a>, who are still incarcerated.\u003c/p>\n\u003cp>Ericka Huggins is still active, working in education. Joan Tarika Lewis is using social media to remain engaged in arts, culture and politics. Fred Hampton Jr. is pushing to \u003ca href=\"https://southsideweekly.com/bigger-than-a-building-hampton-home/\" target=\"_blank\" rel=\"noopener noreferrer\">preserve his father’s childhood house\u003c/a> in Chicago. And Black Panther archivist Billy X Jennings tells me he would’ve helped organize a celebration in honor of Dr. Huey P. Newton today if it weren’t for precautions around large gatherings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, radio host and author of \u003cem>Party Music\u003c/em>, a book about the Black Panther Party’s house band \u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener noreferrer\">The Lumpen\u003c/a>, told me he’s noticed a few drastic differences between the two eras of protest. For starters, there is no clear leader of this current movement, no “Black Messiah,” for better or for worse. And secondly, while Newton himself advocated for \u003ca href=\"https://www.youtube.com/watch?time_continue=5&v=W3ZV9ingN7g&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">freeing all political prisoners\u003c/a>, there is no clear end goal, as there was with the Free Huey movement.\u003c/p>\n\u003cp>At this point, the phrase “Black Lives Matter” has lost whatever teeth it had to start with. Calls to defund the police, while attention-grabbing, remain a nuanced goal, with room for contention. Still, clear end goals exist with specific actionable demands that everyday people can understand, like instructions to \u003ca href=\"https://www.rollingstone.com/culture/culture-news/breonna-taylor-demand-justice-1015060/\" target=\"_blank\" rel=\"noopener noreferrer\">call the District Attorney’s office and demand justice for Breonna Taylor\u003c/a>—that’s where actual change comes from.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What if we focused the next 50 years on specific actionable items to change the justice and prison systems? Now \u003cem>that’d\u003c/em> be a monumental change to the function of the Alameda County Courthouse. And it’d honor Huey P. Newton and the Black Panther Party in the best way possible—to truly bring the power to the people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch a Huey P. Newton Rally, with H. Rap Brown and Stokely Carmichael, from 1968",
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"content": "\u003cp>While Black Panther Party co-founder Huey P. Newton sat in jail on his birthday in 1968, H. Rap Brown and Stokely Carmichael addressed a giant crowd at the Oakland Civic Auditorium in an event known today as the Huey P. Newton Birthday Rally. The day’s events received widespread attention, and catalyzed the “Free Huey” movement.\u003c/p>\n\u003cp>With 5,000 people in attendance, Brown and Carmichael spoke passionately on Newton’s work, the need for black empowerment, the Vietnam war, and the responsibility of the black community to see through a veil of false comfort from white leaders at the height of the civil rights era. \u003c/p>\n\u003cp>As Carmichael says in the clip: “We have to recognize who our major enemy is! The major enemy is not your brother, flesh of your flesh, blood of your blood. The major enemy is the honkey and his institutions of racism! That is the major enemy! That is the major enemy!”\u003c/p>\n\u003cp>Even more pointed were H. Rap Brown’s comments: “A lot of you runnin’ around talkin’ ‘bout you Democrats, and the Democrats got you in the biggest trick goin’—they tell you ‘It ain’t our fault, its the Dixiecrats!’ No such thing as a Dixiecrat! The only difference between George Wallace and Lyndon Johnson is one of ‘em’s wife’s got cancer!” \u003c/p>\n\u003cp>\u003cstrong>KQED recently unearthed this special footage from the KQED archives\u003c/strong>. Watch select moments from their speeches above. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Black Panther Party co-founder Huey P. Newton sat in jail on his birthday in 1968, H. Rap Brown and Stokely Carmichael addressed a giant crowd at the Oakland Civic Auditorium in an event known today as the Huey P. Newton Birthday Rally. The day’s events received widespread attention, and catalyzed the “Free Huey” movement.\u003c/p>\n\u003cp>With 5,000 people in attendance, Brown and Carmichael spoke passionately on Newton’s work, the need for black empowerment, the Vietnam war, and the responsibility of the black community to see through a veil of false comfort from white leaders at the height of the civil rights era. \u003c/p>\n\u003cp>As Carmichael says in the clip: “We have to recognize who our major enemy is! The major enemy is not your brother, flesh of your flesh, blood of your blood. The major enemy is the honkey and his institutions of racism! That is the major enemy! That is the major enemy!”\u003c/p>\n\u003cp>Even more pointed were H. Rap Brown’s comments: “A lot of you runnin’ around talkin’ ‘bout you Democrats, and the Democrats got you in the biggest trick goin’—they tell you ‘It ain’t our fault, its the Dixiecrats!’ No such thing as a Dixiecrat! The only difference between George Wallace and Lyndon Johnson is one of ‘em’s wife’s got cancer!” \u003c/p>\n\u003cp>\u003cstrong>KQED recently unearthed this special footage from the KQED archives\u003c/strong>. Watch select moments from their speeches above. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"excerpt": "A mural in Oakland of the actor and rapper together was painted over in a matter of days—and it turns out there's a reason.",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"headline": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library",
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"content": "\u003cp>Farmworkers harvesting onions. Picketing Teamsters rejecting student sympathizers. Oakland high-schoolers protesting the police shooting their peer. Black Panthers serving breakfast.\u003c/p>\n\u003cp>They’re just a few scenes from a newly digitized \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\">African American Museum & Library Oakland\u003c/a> collection of scarcely if ever seen footage documenting California activism and organized labor in the 1960s and 1970s. AAMLO, a reference library and exhibition space, last year received a grant to catalog and transfer the films. Now nearly seven hours of footage is freely available \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22\">online\u003c/a>.\u003c/p>\n\u003cp>Unearthed footage includes outtakes from documentaries by the radical Newsreel film collective focused on the Black Panther Party, showing figures such as Kathleen Cleaver and Bobby Seale speaking at Oakland Auditorium and DeFremery Park. According to AAMLO, the hours of b-roll from these films—\u003cem>Off the Pig\u003c/em>, \u003cem>MayDay\u003c/em> and \u003cem>Repression\u003c/em>—were previously unknown.\u003c/p>\n\u003cfigure id=\"attachment_13854713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png\" alt=\"A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13854713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x733.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newsreel, known for forerunning citizen journalism and its rapport with Black Panther leadership, worked in a montage style, and much of the footage is brief clips of rallies and street clashes, some set to pop music. Other clips document labor struggles and a 1970 anti-Vietnam march in Los Angeles organized by the National Chicano Moratorium Committee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/MS1950076H264\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Footage from the late 1970s anticipates contemporary struggles against displacement and police shootings: Protesters confronting San Francisco Mayor George Moscone over the mass eviction of the International Hotel, considered the last outpost of Filipino Manilatown; and Oakland High School students marching after Oakland police killed 14-year-old Melvin Black.\u003c/p>\n\u003cp>AAMLO last year received $19,590 from the Council on Library and Information Resources for “recordings at risk” to preserve and share the collection (many of the acetate reels were deteriorating), aiming to the surface material relevant to the Black Panthers’ 50-year anniversary as well as contemporary social-justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13854714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png\" alt=\"Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"597\" class=\"size-medium wp-image-13854714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x762.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The library, said archives assistant Sean Dickerson, hopes to draw attention to its holdings not only of interest to researchers, but also to the Oakland public. AAMLO, housed in a striking 1902 Carnegie building, has an upstairs exhibition and event space that will host a public screening-and-talks series drawing on the film collection and its modern-day resonance.\u003c/p>\n\u003cp>Dickerson also hopes to spur interest in AAMLO’s 163 processed collections; recent acquisitions include the archives of storied KPFA gospel director Emitt Powell and television host Jay Payton, whose 1970s \u003cem>Jay Payton Show\u003c/em> has been likened to an Oakland \u003cem>Soul Train\u003c/em>. “The best thing to come out of this is not only increased awareness of collections of national interest, but also showing the Oakland community what we’re here to preserve,” Dickerson said.\u003c/p>\n\u003cp>By posting the collection \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22&page=2\">online\u003c/a>, AAMLO is also trying to learn from the public. Sean Heyliger, until recently an archivist at AAMLO, said the origin and contents of the Henry J. Williams Jr. Film Collection, which contains more than 100 recordings altogether, are still “mysterious.” Little is known about its namesake, a Los Angeles man who donated the material in 1992, and AAMLO has yet to identify some speakers and locations, let alone the filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13854715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png\" alt=\"Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection.\" width=\"800\" height=\"595\" class=\"size-medium wp-image-13854715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, Heyliger said, he encountered a piece of paper, the result of a 1994 cataloging effort, indicating AAMLO had received a Black Panther film donation. But his colleagues hadn’t seen them. “None of the former directors or employees knew they existed,” he said. Then Heyliger found a box of film canisters in off-site storage, some marked “Bobby Seale” or “Kathleen Cleaver.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAMLO doesn’t have playback equipment, so the archivists gleaned information from canister markings and looked at individual frames on a light table, eventually posting a cursory inventory online. “We hoped someone, maybe even Williams, would come out of the woodwork with the story, but no one did,” Heyliger said. “We still don’t really know how Williams got ahold of these films. We think he knew someone at Newsreel. But he could’ve found them at the flea market.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farmworkers harvesting onions. Picketing Teamsters rejecting student sympathizers. Oakland high-schoolers protesting the police shooting their peer. Black Panthers serving breakfast.\u003c/p>\n\u003cp>They’re just a few scenes from a newly digitized \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\">African American Museum & Library Oakland\u003c/a> collection of scarcely if ever seen footage documenting California activism and organized labor in the 1960s and 1970s. AAMLO, a reference library and exhibition space, last year received a grant to catalog and transfer the films. Now nearly seven hours of footage is freely available \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22\">online\u003c/a>.\u003c/p>\n\u003cp>Unearthed footage includes outtakes from documentaries by the radical Newsreel film collective focused on the Black Panther Party, showing figures such as Kathleen Cleaver and Bobby Seale speaking at Oakland Auditorium and DeFremery Park. According to AAMLO, the hours of b-roll from these films—\u003cem>Off the Pig\u003c/em>, \u003cem>MayDay\u003c/em> and \u003cem>Repression\u003c/em>—were previously unknown.\u003c/p>\n\u003cfigure id=\"attachment_13854713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png\" alt=\"A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13854713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x733.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newsreel, known for forerunning citizen journalism and its rapport with Black Panther leadership, worked in a montage style, and much of the footage is brief clips of rallies and street clashes, some set to pop music. Other clips document labor struggles and a 1970 anti-Vietnam march in Los Angeles organized by the National Chicano Moratorium Committee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/MS1950076H264\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Footage from the late 1970s anticipates contemporary struggles against displacement and police shootings: Protesters confronting San Francisco Mayor George Moscone over the mass eviction of the International Hotel, considered the last outpost of Filipino Manilatown; and Oakland High School students marching after Oakland police killed 14-year-old Melvin Black.\u003c/p>\n\u003cp>AAMLO last year received $19,590 from the Council on Library and Information Resources for “recordings at risk” to preserve and share the collection (many of the acetate reels were deteriorating), aiming to the surface material relevant to the Black Panthers’ 50-year anniversary as well as contemporary social-justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13854714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png\" alt=\"Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"597\" class=\"size-medium wp-image-13854714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x762.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The library, said archives assistant Sean Dickerson, hopes to draw attention to its holdings not only of interest to researchers, but also to the Oakland public. AAMLO, housed in a striking 1902 Carnegie building, has an upstairs exhibition and event space that will host a public screening-and-talks series drawing on the film collection and its modern-day resonance.\u003c/p>\n\u003cp>Dickerson also hopes to spur interest in AAMLO’s 163 processed collections; recent acquisitions include the archives of storied KPFA gospel director Emitt Powell and television host Jay Payton, whose 1970s \u003cem>Jay Payton Show\u003c/em> has been likened to an Oakland \u003cem>Soul Train\u003c/em>. “The best thing to come out of this is not only increased awareness of collections of national interest, but also showing the Oakland community what we’re here to preserve,” Dickerson said.\u003c/p>\n\u003cp>By posting the collection \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22&page=2\">online\u003c/a>, AAMLO is also trying to learn from the public. Sean Heyliger, until recently an archivist at AAMLO, said the origin and contents of the Henry J. Williams Jr. Film Collection, which contains more than 100 recordings altogether, are still “mysterious.” Little is known about its namesake, a Los Angeles man who donated the material in 1992, and AAMLO has yet to identify some speakers and locations, let alone the filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13854715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png\" alt=\"Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection.\" width=\"800\" height=\"595\" class=\"size-medium wp-image-13854715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, Heyliger said, he encountered a piece of paper, the result of a 1994 cataloging effort, indicating AAMLO had received a Black Panther film donation. But his colleagues hadn’t seen them. “None of the former directors or employees knew they existed,” he said. Then Heyliger found a box of film canisters in off-site storage, some marked “Bobby Seale” or “Kathleen Cleaver.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAMLO doesn’t have playback equipment, so the archivists gleaned information from canister markings and looked at individual frames on a light table, eventually posting a cursory inventory online. “We hoped someone, maybe even Williams, would come out of the woodwork with the story, but no one did,” Heyliger said. “We still don’t really know how Williams got ahold of these films. We think he knew someone at Newsreel. But he could’ve found them at the flea market.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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