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"bio": "Eric Arnold has covered hip-hop locally and nationally for over 30 years. Formerly the managing editor of \u003cem>4080\u003c/em> and columnist for \u003cem>The Source\u003c/em>, he chronicled hyphy’s rise and fall, co-curated the Oakland Museum of California’s first hip-hop exhibit in 2018 and won a 2022 Northern California Emmy Award for a mini-documentary on Oakland’s Boogaloo dance culture. He is a contributing editor for \u003cem>That’s My Word\u003c/em>, KQED's series on the history of Bay Area hip-hop.",
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"title": "A Brief History of the Lumpen, the Black Panthers' Revolutionary Funk Band",
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"content": "\u003cp>Saturu Ned claims he once changed Tupac Shakur’s diaper before going on stage.\u003c/p>\n\u003cp>Ned has a lot of stories from the early ’70s: his band, \u003ca href=\"http://www.itsabouttimebpp.com/our_stories/The_Lumpen/the_lumpen.html\">the Lumpen\u003c/a>, shared bills with Curtis Mayfield, Muhammad Ali and even the Grateful Dead. Mobs threatened them with violence during a performance in front of the New Haven, Connecticut jail where they played in support of an incarcerated Bobby Seale. Popular R&B acts of the time like the Dells and the Stylistics were fans of the Lumpen, and an industry bigshot wanted to give them a record deal.\u003c/p>\n\u003cp>But for Ned and his band mates—William Calhoun, Clark Bailey and Mark Torrance—the party came first. That party was the Black Panther Party, the revolutionary civil rights organization that required all of its members to participate in community service programs. Born James Mott, Ned joined the Panthers as a teenager. By 1970, he was working out of the Panthers’ Central Headquarters in West Oakland, helping get the Party newsletter into the hands of community members.\u003c/p>\n\u003cp>“I would sometimes be singing, in the front,” Ned recalls. “\u003ca href=\"https://www.amazon.com/Black-Panther-Revolutionary-Emory-Douglas/dp/0847829448\" target=\"_blank\" rel=\"noopener noreferrer\">Emory\u003c/a> [Douglas, the Panthers’ Minister of Culture] would come by. ‘Oh man, you got a nice voice.'”\u003c/p>\n\u003cp>Douglas told Ned he knew of a few other party members with good voices, and thought that combining R&B with urgent social commentary could help reach the masses and galvanize the faithful. Taking their name from \u003ca href=\"https://www.iep.utm.edu/fanon/\" target=\"_blank\" rel=\"noopener noreferrer\">Franz Fanon\u003c/a>‘s anti-imperialist text \u003cem>The Wretched of the Earth\u003c/em>, the Lumpen started rehearsing at the Panther HQ in West Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’d all collaborate on the lyrics, songs, concepts and choreography,” Ned recalls. They began playing local shows and were part of the arts and culture programming at the \u003ca href=\"http://www.wholeearth.com/issue/2003/article/317/son.of.man.temple\" target=\"_blank\" rel=\"noopener noreferrer\">Temple of the Son of Man\u003c/a>, a Panther-run non-denominational spiritual center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Then everything accelerated. Bobby got kidnapped!” Ned recalls, referring to Seale’s various legal troubles, including a contempt of court conviction and a subsequent arrest for allegedly ordering the murder of a Panther-turned-suspected informant (the charges were later dropped). As the Panthers rallied around Seale, party leadership told Ned, “We want you to create a song.”\u003c/p>\n\u003cp>In 1970, the Lumpen recorded two songs—”No More” and “Free Bobby Now”—which were pressed up as a 45 rpm record. They developed a stage show that incorporated original material, skits and versions of other artists’ songs with revolutionary lyrics. “\u003ca href=\"https://www.youtube.com/watch?v=eh9WayN7R-s\" target=\"_blank\" rel=\"noopener noreferrer\">Ol’ Man River\u003c/a>” became “Ol’ Pig Nixon.”\u003c/p>\n\u003cp>https://youtu.be/G2llXaUMMqc\u003c/p>\n\u003cp>One of the Lumpen’s career highlights came when journalist (and \u003ca href=\"https://www.kqed.org/forum/201211091030/belva-davis-signs-off-after-storied-career\" target=\"_blank\" rel=\"noopener noreferrer\">former KQED anchor\u003c/a>) Belva Davis arranged a performance at San Quentin with Curtis Mayfield and Muhammad Ali. The Lumpen performed their version of Mayfield’s “People Get Ready,” then segued to “Free Bobby Now” and “Ol’ Pig Nixon.” By the fourth song, “Revolution is the Only Solution,” prison officials began to take note of the lyrics: “A 45 will stop all jive / A 357 will send a pig to heaven / A 38 will…”\u003c/p>\n\u003cp>Ned recalls, “All of a sudden, the mics went dead. The guards had pulled the plug. They cut our mic and said, ‘You’re not gonna sing anymore, or we’re gonna end this concert and we’re gonna send the prisoners back.’ So Curtis came out, and Muhammad Ali was back there just busting up. ‘They didn’t let y’all sing, huh? Well, I guess I’m gonna have to get out there and tell the truth anyway.’ I never will forget that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uVo29ejD7jA\u003c/p>\n\u003cp>Another highlight was an East Coast tour with Douglas, which included a contentious stop in New Haven, where Seale was being held. Matter-of-factly, Ned recounts confrontations with angry crowds: “They threatened us in New Haven, [but] we said, ‘Oh, well. We might not get another opportunity to consistently say this.'”\u003c/p>\n\u003cp>The Lumpen made a live recording from that tour, but the master tapes somehow disappeared and the album was never released.\u003c/p>\n\u003cp>In 2013, \u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, host of KPFA’s \u003cem>\u003ca href=\"https://kpfa.org/program/the-history-of-funk/\" target=\"_blank\" rel=\"noopener noreferrer\">History of Funk\u003c/a> \u003c/em>show, wrote a book on the Lumpen called \u003cem>Party Music\u003c/em>. Vincent says he’s never heard the full album—which he calls a “unicorn”—but did transcribe the lyrics from eight songs he gleaned from a cassette copy while researching his book.\u003c/p>\n\u003cp>The Lumpen, he says, “represented the music, but they also represented the Black Panther Party at that time. … They represented a moment of truth where the music, the politics, the possibilities were all sort of reaching a peak at the same time.”\u003c/p>\n\u003cp>Vincent says the band existed in a musical context shaped by James Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=9bJA6W9CqvE\">Say It Loud (I’m Black and I’m Proud)\u003c/a>.” “That was the record that laid out this explicit discourse across the racial divide,” he explains. “The explicit use of race—all that sort of evolved from late ’69 into ’70. This new era of music was driven by a tantalizing mix of racial community and racial confrontation. The way the times were changing, the way people’s expectations were changing, somebody had to push that a little further.”\u003c/p>\n\u003cp>The Lumpen, Vincent argues, were unique. “They weren’t a group designed to perform for profit,” he says. “They were designed to perform for a specific political agenda that mirrored or reflected the Black Panther Party’s vision of social change.”\u003c/p>\n\u003cfigure id=\"attachment_13851564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg\" alt=\"Saturu Ned today. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saturu Ned today. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Vincent and Ned note that the radio stations of the time were afraid to give the Lumpen airplay despite their talent. Ned adds that Panther leadership had other priorities besides promoting a funk band. Although they played a few local shows in 1972, the group disbanded after its members were reassigned to other roles in the Panther organization.\u003c/p>\n\u003cp>With a tinge of regret, Ned remarks, “What [Panther leadership] didn’t understand at the time that we brought rehumanizing, opening up the doors for everyone to say, ‘I’m a revolutionary too.'”\u003c/p>\n\u003cp>Undoubtedly, the Lumpen’s legacy carried on through the sociopolitical commentary that \u003ca href=\"https://www.youtube.com/watch?v=qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener noreferrer\">permeated R&B and funk throughout the ’70s\u003c/a>—as well as the direct political speech of hip-hop groups such as the Coup, Public Enemy and dead prez. There have been inquiries, Ned says, from local artist Kev Choice and X Clan’s Brother J about collaborating on a reunion show—suggesting there may be another chapter in the Lumpen’s story.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Saturu Ned speaks at \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\">\u003cem>The Legacy: Black Arts, Black Panthers, and Hip-Hop\u003c/em>\u003c/a>, a\u003cem> panel discussion moderated by Eric Arnold on Feb. 27 at Oakstop. Details \u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For information about Saturu Ned’s clothing line, Black Panther Power, click \u003c/em>\u003ca href=\"https://blackpantherpower.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>here. \u003c/em>\u003c/a>\u003cem> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturu Ned claims he once changed Tupac Shakur’s diaper before going on stage.\u003c/p>\n\u003cp>Ned has a lot of stories from the early ’70s: his band, \u003ca href=\"http://www.itsabouttimebpp.com/our_stories/The_Lumpen/the_lumpen.html\">the Lumpen\u003c/a>, shared bills with Curtis Mayfield, Muhammad Ali and even the Grateful Dead. Mobs threatened them with violence during a performance in front of the New Haven, Connecticut jail where they played in support of an incarcerated Bobby Seale. Popular R&B acts of the time like the Dells and the Stylistics were fans of the Lumpen, and an industry bigshot wanted to give them a record deal.\u003c/p>\n\u003cp>But for Ned and his band mates—William Calhoun, Clark Bailey and Mark Torrance—the party came first. That party was the Black Panther Party, the revolutionary civil rights organization that required all of its members to participate in community service programs. Born James Mott, Ned joined the Panthers as a teenager. By 1970, he was working out of the Panthers’ Central Headquarters in West Oakland, helping get the Party newsletter into the hands of community members.\u003c/p>\n\u003cp>“I would sometimes be singing, in the front,” Ned recalls. “\u003ca href=\"https://www.amazon.com/Black-Panther-Revolutionary-Emory-Douglas/dp/0847829448\" target=\"_blank\" rel=\"noopener noreferrer\">Emory\u003c/a> [Douglas, the Panthers’ Minister of Culture] would come by. ‘Oh man, you got a nice voice.'”\u003c/p>\n\u003cp>Douglas told Ned he knew of a few other party members with good voices, and thought that combining R&B with urgent social commentary could help reach the masses and galvanize the faithful. Taking their name from \u003ca href=\"https://www.iep.utm.edu/fanon/\" target=\"_blank\" rel=\"noopener noreferrer\">Franz Fanon\u003c/a>‘s anti-imperialist text \u003cem>The Wretched of the Earth\u003c/em>, the Lumpen started rehearsing at the Panther HQ in West Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’d all collaborate on the lyrics, songs, concepts and choreography,” Ned recalls. They began playing local shows and were part of the arts and culture programming at the \u003ca href=\"http://www.wholeearth.com/issue/2003/article/317/son.of.man.temple\" target=\"_blank\" rel=\"noopener noreferrer\">Temple of the Son of Man\u003c/a>, a Panther-run non-denominational spiritual center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Then everything accelerated. Bobby got kidnapped!” Ned recalls, referring to Seale’s various legal troubles, including a contempt of court conviction and a subsequent arrest for allegedly ordering the murder of a Panther-turned-suspected informant (the charges were later dropped). As the Panthers rallied around Seale, party leadership told Ned, “We want you to create a song.”\u003c/p>\n\u003cp>In 1970, the Lumpen recorded two songs—”No More” and “Free Bobby Now”—which were pressed up as a 45 rpm record. They developed a stage show that incorporated original material, skits and versions of other artists’ songs with revolutionary lyrics. “\u003ca href=\"https://www.youtube.com/watch?v=eh9WayN7R-s\" target=\"_blank\" rel=\"noopener noreferrer\">Ol’ Man River\u003c/a>” became “Ol’ Pig Nixon.”\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/G2llXaUMMqc'\n title='//www.youtube.com/embed/G2llXaUMMqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the Lumpen’s career highlights came when journalist (and \u003ca href=\"https://www.kqed.org/forum/201211091030/belva-davis-signs-off-after-storied-career\" target=\"_blank\" rel=\"noopener noreferrer\">former KQED anchor\u003c/a>) Belva Davis arranged a performance at San Quentin with Curtis Mayfield and Muhammad Ali. The Lumpen performed their version of Mayfield’s “People Get Ready,” then segued to “Free Bobby Now” and “Ol’ Pig Nixon.” By the fourth song, “Revolution is the Only Solution,” prison officials began to take note of the lyrics: “A 45 will stop all jive / A 357 will send a pig to heaven / A 38 will…”\u003c/p>\n\u003cp>Ned recalls, “All of a sudden, the mics went dead. The guards had pulled the plug. They cut our mic and said, ‘You’re not gonna sing anymore, or we’re gonna end this concert and we’re gonna send the prisoners back.’ So Curtis came out, and Muhammad Ali was back there just busting up. ‘They didn’t let y’all sing, huh? Well, I guess I’m gonna have to get out there and tell the truth anyway.’ I never will forget that.”\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/uVo29ejD7jA'\n title='//www.youtube.com/embed/uVo29ejD7jA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another highlight was an East Coast tour with Douglas, which included a contentious stop in New Haven, where Seale was being held. Matter-of-factly, Ned recounts confrontations with angry crowds: “They threatened us in New Haven, [but] we said, ‘Oh, well. We might not get another opportunity to consistently say this.'”\u003c/p>\n\u003cp>The Lumpen made a live recording from that tour, but the master tapes somehow disappeared and the album was never released.\u003c/p>\n\u003cp>In 2013, \u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, host of KPFA’s \u003cem>\u003ca href=\"https://kpfa.org/program/the-history-of-funk/\" target=\"_blank\" rel=\"noopener noreferrer\">History of Funk\u003c/a> \u003c/em>show, wrote a book on the Lumpen called \u003cem>Party Music\u003c/em>. Vincent says he’s never heard the full album—which he calls a “unicorn”—but did transcribe the lyrics from eight songs he gleaned from a cassette copy while researching his book.\u003c/p>\n\u003cp>The Lumpen, he says, “represented the music, but they also represented the Black Panther Party at that time. … They represented a moment of truth where the music, the politics, the possibilities were all sort of reaching a peak at the same time.”\u003c/p>\n\u003cp>Vincent says the band existed in a musical context shaped by James Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=9bJA6W9CqvE\">Say It Loud (I’m Black and I’m Proud)\u003c/a>.” “That was the record that laid out this explicit discourse across the racial divide,” he explains. “The explicit use of race—all that sort of evolved from late ’69 into ’70. This new era of music was driven by a tantalizing mix of racial community and racial confrontation. The way the times were changing, the way people’s expectations were changing, somebody had to push that a little further.”\u003c/p>\n\u003cp>The Lumpen, Vincent argues, were unique. “They weren’t a group designed to perform for profit,” he says. “They were designed to perform for a specific political agenda that mirrored or reflected the Black Panther Party’s vision of social change.”\u003c/p>\n\u003cfigure id=\"attachment_13851564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg\" alt=\"Saturu Ned today. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saturu Ned today. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Vincent and Ned note that the radio stations of the time were afraid to give the Lumpen airplay despite their talent. Ned adds that Panther leadership had other priorities besides promoting a funk band. Although they played a few local shows in 1972, the group disbanded after its members were reassigned to other roles in the Panther organization.\u003c/p>\n\u003cp>With a tinge of regret, Ned remarks, “What [Panther leadership] didn’t understand at the time that we brought rehumanizing, opening up the doors for everyone to say, ‘I’m a revolutionary too.'”\u003c/p>\n\u003cp>Undoubtedly, the Lumpen’s legacy carried on through the sociopolitical commentary that \u003ca href=\"https://www.youtube.com/watch?v=qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener noreferrer\">permeated R&B and funk throughout the ’70s\u003c/a>—as well as the direct political speech of hip-hop groups such as the Coup, Public Enemy and dead prez. There have been inquiries, Ned says, from local artist Kev Choice and X Clan’s Brother J about collaborating on a reunion show—suggesting there may be another chapter in the Lumpen’s story.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Saturu Ned speaks at \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\">\u003cem>The Legacy: Black Arts, Black Panthers, and Hip-Hop\u003c/em>\u003c/a>, a\u003cem> panel discussion moderated by Eric Arnold on Feb. 27 at Oakstop. Details \u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\" target=\"_blank\" rel=\"noopener noreferrer\">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>For information about Saturu Ned’s clothing line, Black Panther Power, click \u003c/em>\u003ca href=\"https://blackpantherpower.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>here. \u003c/em>\u003c/a>\u003cem> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elbert 'Big Man' Howard, Founding Black Panther Party Member, Dies at 80",
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"content": "\u003cp>Elbert “Big Man” Howard, a co-founder of the Black Panther Party who served as newspaper editor, information officer and logistics genius behind the group’s popular social programs, has died at age 80.\u003c/p>\n\u003cp>His wife of over 20 years, Carole Hyams, confirmed that Howard died Monday in Santa Rosa, California, after a long illness.\u003c/p>\n\u003cp>Friends and family described Howard as a “gentle giant” who could paint in words what a jazz song was saying. Howard was an author, volunteer jazz disc jockey, author, lecturer and activist in Sonoma County, where he later made his home.\u003c/p>\n\u003cp>Howard was one of six people who founded the Black Panther Party for Self-Defense in Oakland in October 1966, along with Bobby Seale and Huey Newton. \u003c/p>\n\u003cp>Howard told KQED in 2016 that while enrolled at Merritt College, “I met Bobby Seale and he introduced me to Huey Newton. He’d tell me, ‘Oh, we have some rap sessions after class. You want to come and listen in or whatever? You’re welcome to come. We’re think about putting together an organization.’ And that’s pretty much how it started.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Black Panther Party for Self-Defense, as it was known, began by patrolling police for possible abuse against black citizens. Because he was ex-military, Howard was crucial to the party’s safety patrol program.\u003c/p>\n\u003cp>“Elbert and I, we were ex-military. Being ex-military, we were able to show other party members the use of guns and weapons, and the safety of weapons,” Seale told the \u003cem>North Bay Bohemian\u003c/em> in 2012. “To me, as chairman of the Black Panther Party, Elbert Howard’s experience was invaluable.”\u003c/p>\n\u003cfigure id=\"attachment_11331587\" class=\"wp-caption aligncenter\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg\" alt=\"The Black Panthers, with Elbert 'Big Man' Howard at right, engaged in a practice drill.\" width=\"742\" height=\"499\" class=\"size-full wp-image-11331587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones-400x269.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panthers, with Elbert ‘Big Man’ Howard at right, engaged in a practice drill. \u003ccite>(Pirkle Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the party’s Minister of Information, Howard served as the first editor of the Black Panther newspaper. He traveled to Europe and Japan to set up chapters and helped launch the social programs that made the party famous, including a free medical clinic for sickle-cell anemia.\u003c/p>\n\u003cp>Key members quit in 1974 after years of fatal fights with police and each other. Later it became clear that the FBI had engaged in surveillance and harassment to undermine the party and incriminate its leaders.\u003c/p>\n\u003cp>Howard quit the party in 1974, going back to live under the radar in Tennessee and rarely talking about his time with the Panthers. Howard’s own daughter, even, was unaware of his involvement in the party until 2001, when he published his autobiography, \u003cem>Panther on the Prowl\u003c/em>.\u003c/p>\n\u003cp>Billy X. Jennings, a longtime friend and party archivist, said Howard was the person who negotiated lower prices and organized refrigerated trucks for food giveaways. Later, as an administrator at a local college, he organized a program for jail inmates and parolees to take courses.\u003c/p>\n\u003cp>“He was a beloved member,” Jennings said. “People might have had different grudges against Bobby or Eldridge (Cleaver), but nobody got a grudge against Big Man.”\u003c/p>\n\u003cp>The sentiment was echoed by Hyams. “He was loved almost universally by everybody in the party, and respected,” she said. “He gave his heart and soul to the party. He loved his people. But he also loved all oppressed people.”\u003c/p>\n\u003cfigure id=\"attachment_11331586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg\" alt=\"Elbert 'Big Man' Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11331586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elbert ‘Big Man’ Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard was born Jan. 5, 1938, in Chattanooga, Tennessee, as the only child of Emma and Anderson Howard. He joined the Air Force and was posted to Travis Air Force Base in Fairfield, California.\u003c/p>\n\u003cp>After he was discharged, Howard enrolled in Merritt College, where he met Seale and Newton. Seale remains active in politics. Newton was killed in 1989.\u003c/p>\n\u003cp>Hyams was a nurse when she met Howard in 1969; they broke up when he started traveling on party business.\u003c/p>\n\u003cp>“He was huge, he was impressive, he was quiet,” she said. “He seemed shy almost, but carried himself with great distinguishment.”\u003c/p>\n\u003cp>After Howard left the party, he returned to Tennessee and worked as a sales manager, Jennings said. The friends got back in touch in the 1990s, and Howard became active in party reunions and events.\u003c/p>\n\u003cp>In 2005, Hyams reached out to Howard by phone after a friend’s son found his information online. They got back together and were married in her Sonoma County home in 2007.\u003c/p>\n\u003cfigure id=\"attachment_11331585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg\" alt=\"Former Black Panther Elbert 'Big Man' Howard hosts 'Jazz Connections' on KRCB-FM in Rohnert Park in 2016.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11331585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on KRCB-FM in Rohnert Park in 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Howard brought the jazz music he loved to the airwaves with a succession of radio hosting gigs in Sonoma County. “I like to somehow keep [jazz] from being lost,” he told KQED in 2016. “I don’t really want to adhere to the popular attitude about ‘that’s old’ and ‘that needs to be dispensed with.’ It’s a part of American life, and I don’t want to see it just disappear.”\u003c/p>\n\u003cp>Howard remained politically active in recent years, establishing the Police Accountability Clinic and Helpline in Sonoma County. He also helped co-found the community station KWTF in Santa Rosa. \u003c/p>\n\u003cp>“I think he would want to be remembered as one who was true to the struggle for human rights,” said Hyams. “That was the most important thing in his life, along with his fierce, fierce love for his comrades and people. That was what motivated him. That was what drew me to him in 1969. And that never changed, no matter what his trials and tribulations were.”\u003c/p>\n\u003cp>In addition to his wife, survivors include his daughter Tynisa Howard Wilson of Landover, Maryland, and grandsons Jaylen and Amin; stepson Robert Grimes of San Pablo, California, and three step-grandchildren.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A memorial to honor Elbert “Big Man” Howard takes place Saturday, Aug. 25 at Bobby Hutton Grove inside of DeFremery Park in Oakland. Starts at 1pm. Speakers include Emory Douglas & Kathleen Cleaver.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elbert “Big Man” Howard, a co-founder of the Black Panther Party who served as newspaper editor, information officer and logistics genius behind the group’s popular social programs, has died at age 80.\u003c/p>\n\u003cp>His wife of over 20 years, Carole Hyams, confirmed that Howard died Monday in Santa Rosa, California, after a long illness.\u003c/p>\n\u003cp>Friends and family described Howard as a “gentle giant” who could paint in words what a jazz song was saying. Howard was an author, volunteer jazz disc jockey, author, lecturer and activist in Sonoma County, where he later made his home.\u003c/p>\n\u003cp>Howard was one of six people who founded the Black Panther Party for Self-Defense in Oakland in October 1966, along with Bobby Seale and Huey Newton. \u003c/p>\n\u003cp>Howard told KQED in 2016 that while enrolled at Merritt College, “I met Bobby Seale and he introduced me to Huey Newton. He’d tell me, ‘Oh, we have some rap sessions after class. You want to come and listen in or whatever? You’re welcome to come. We’re think about putting together an organization.’ And that’s pretty much how it started.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Black Panther Party for Self-Defense, as it was known, began by patrolling police for possible abuse against black citizens. Because he was ex-military, Howard was crucial to the party’s safety patrol program.\u003c/p>\n\u003cp>“Elbert and I, we were ex-military. Being ex-military, we were able to show other party members the use of guns and weapons, and the safety of weapons,” Seale told the \u003cem>North Bay Bohemian\u003c/em> in 2012. “To me, as chairman of the Black Panther Party, Elbert Howard’s experience was invaluable.”\u003c/p>\n\u003cfigure id=\"attachment_11331587\" class=\"wp-caption aligncenter\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg\" alt=\"The Black Panthers, with Elbert 'Big Man' Howard at right, engaged in a practice drill.\" width=\"742\" height=\"499\" class=\"size-full wp-image-11331587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones-400x269.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panthers, with Elbert ‘Big Man’ Howard at right, engaged in a practice drill. \u003ccite>(Pirkle Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the party’s Minister of Information, Howard served as the first editor of the Black Panther newspaper. He traveled to Europe and Japan to set up chapters and helped launch the social programs that made the party famous, including a free medical clinic for sickle-cell anemia.\u003c/p>\n\u003cp>Key members quit in 1974 after years of fatal fights with police and each other. Later it became clear that the FBI had engaged in surveillance and harassment to undermine the party and incriminate its leaders.\u003c/p>\n\u003cp>Howard quit the party in 1974, going back to live under the radar in Tennessee and rarely talking about his time with the Panthers. Howard’s own daughter, even, was unaware of his involvement in the party until 2001, when he published his autobiography, \u003cem>Panther on the Prowl\u003c/em>.\u003c/p>\n\u003cp>Billy X. Jennings, a longtime friend and party archivist, said Howard was the person who negotiated lower prices and organized refrigerated trucks for food giveaways. Later, as an administrator at a local college, he organized a program for jail inmates and parolees to take courses.\u003c/p>\n\u003cp>“He was a beloved member,” Jennings said. “People might have had different grudges against Bobby or Eldridge (Cleaver), but nobody got a grudge against Big Man.”\u003c/p>\n\u003cp>The sentiment was echoed by Hyams. “He was loved almost universally by everybody in the party, and respected,” she said. “He gave his heart and soul to the party. He loved his people. But he also loved all oppressed people.”\u003c/p>\n\u003cfigure id=\"attachment_11331586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg\" alt=\"Elbert 'Big Man' Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11331586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elbert ‘Big Man’ Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard was born Jan. 5, 1938, in Chattanooga, Tennessee, as the only child of Emma and Anderson Howard. He joined the Air Force and was posted to Travis Air Force Base in Fairfield, California.\u003c/p>\n\u003cp>After he was discharged, Howard enrolled in Merritt College, where he met Seale and Newton. Seale remains active in politics. Newton was killed in 1989.\u003c/p>\n\u003cp>Hyams was a nurse when she met Howard in 1969; they broke up when he started traveling on party business.\u003c/p>\n\u003cp>“He was huge, he was impressive, he was quiet,” she said. “He seemed shy almost, but carried himself with great distinguishment.”\u003c/p>\n\u003cp>After Howard left the party, he returned to Tennessee and worked as a sales manager, Jennings said. The friends got back in touch in the 1990s, and Howard became active in party reunions and events.\u003c/p>\n\u003cp>In 2005, Hyams reached out to Howard by phone after a friend’s son found his information online. They got back together and were married in her Sonoma County home in 2007.\u003c/p>\n\u003cfigure id=\"attachment_11331585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg\" alt=\"Former Black Panther Elbert 'Big Man' Howard hosts 'Jazz Connections' on KRCB-FM in Rohnert Park in 2016.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11331585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on KRCB-FM in Rohnert Park in 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Howard brought the jazz music he loved to the airwaves with a succession of radio hosting gigs in Sonoma County. “I like to somehow keep [jazz] from being lost,” he told KQED in 2016. “I don’t really want to adhere to the popular attitude about ‘that’s old’ and ‘that needs to be dispensed with.’ It’s a part of American life, and I don’t want to see it just disappear.”\u003c/p>\n\u003cp>Howard remained politically active in recent years, establishing the Police Accountability Clinic and Helpline in Sonoma County. He also helped co-found the community station KWTF in Santa Rosa. \u003c/p>\n\u003cp>“I think he would want to be remembered as one who was true to the struggle for human rights,” said Hyams. “That was the most important thing in his life, along with his fierce, fierce love for his comrades and people. That was what motivated him. That was what drew me to him in 1969. And that never changed, no matter what his trials and tribulations were.”\u003c/p>\n\u003cp>In addition to his wife, survivors include his daughter Tynisa Howard Wilson of Landover, Maryland, and grandsons Jaylen and Amin; stepson Robert Grimes of San Pablo, California, and three step-grandchildren.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A memorial to honor Elbert “Big Man” Howard takes place Saturday, Aug. 25 at Bobby Hutton Grove inside of DeFremery Park in Oakland. Starts at 1pm. Speakers include Emory Douglas & Kathleen Cleaver.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Library Wins Grant to Digitize Unused Footage of the Black Panther Party",
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"content": "\u003cp>The African American Museum & Library at Oakland (AAMLO) \u003ca href=\"http://oaklandlibrary.org/news/2018/05/aamlo-awarded-recordings-risk-grant-digitize-black-panther-party-films\" target=\"_blank\" rel=\"noopener\">announced this week\u003c/a> that it won an almost-$20,000 grant to digitize and preserve donated archival footage of the Black Panther Party.\u003c/p>\n\u003cp>The museum and library received the collection of 98 films and four audiotapes in the early ’90s. The reels reportedly consist of unused footage from the documentary film collective \u003ca href=\"http://raisingofamerica.org/about-california-newsreel\" target=\"_blank\" rel=\"noopener\">California Newsreel\u003c/a>, and show the Black Panther Party and other protest movements from the late ’60s and ’70s. But the museum is not sure about what the 16-mm film footage contains, as its archivists haven’t been able to view it.\u003c/p>\n\u003cp>“We don’t even know what’s on the reels,” AAMLO archivist Sean Heyliger said Friday, adding that even the audio they have for the footage isn’t labeled correctly. “Right now we don’t know what goes with what.”\u003c/p>\n\u003cp>Heyliger says a man named Henry Williams donated the footage around 1992 and lost contact with the museum since.\u003c/p>\n\u003cp>Film footage has a limited lifespan—between 50 to 75 years before it begins to deteriorate, according to Heyliger—and though the Williams archival film is still in good condition, the library wants to keep it that way, especially when it could include unseen footage of Black Panther Party co-founder Huey Newton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s important to fill in the gaps about the history of California and African Americans and the Black Power movement that started in California,” museum interim chief curator Susan Anderson told \u003ca href=\"https://hoodline.com/2018/05/african-american-museum-receives-grant-to-digitize-rare-protest-footage\" target=\"_blank\" rel=\"noopener\">Hoodline Wednesday\u003c/a>.\u003c/p>\n\u003cp>The footage also reportedly features recordings of Vietnam War protesters, as well as student protests at Oakland high schools following the police shooting of 16-year-old Melvin Black in 1979.\u003c/p>\n\u003cp>The grant AAMLO received was one of 16 “Recordings at Risk” grants awarded by the Council on Library and Information Resources (CLIR) this spring. The grant specifically for supporting “the preservation of rare and unique audio and audiovisual content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After digitizing the film, which AAMLO representatives estimate will take a year to complete, the museum will post the film online and make it accessible to the public. The footage will also be made available for licensing to filmmakers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The African American Museum & Library at Oakland (AAMLO) \u003ca href=\"http://oaklandlibrary.org/news/2018/05/aamlo-awarded-recordings-risk-grant-digitize-black-panther-party-films\" target=\"_blank\" rel=\"noopener\">announced this week\u003c/a> that it won an almost-$20,000 grant to digitize and preserve donated archival footage of the Black Panther Party.\u003c/p>\n\u003cp>The museum and library received the collection of 98 films and four audiotapes in the early ’90s. The reels reportedly consist of unused footage from the documentary film collective \u003ca href=\"http://raisingofamerica.org/about-california-newsreel\" target=\"_blank\" rel=\"noopener\">California Newsreel\u003c/a>, and show the Black Panther Party and other protest movements from the late ’60s and ’70s. But the museum is not sure about what the 16-mm film footage contains, as its archivists haven’t been able to view it.\u003c/p>\n\u003cp>“We don’t even know what’s on the reels,” AAMLO archivist Sean Heyliger said Friday, adding that even the audio they have for the footage isn’t labeled correctly. “Right now we don’t know what goes with what.”\u003c/p>\n\u003cp>Heyliger says a man named Henry Williams donated the footage around 1992 and lost contact with the museum since.\u003c/p>\n\u003cp>Film footage has a limited lifespan—between 50 to 75 years before it begins to deteriorate, according to Heyliger—and though the Williams archival film is still in good condition, the library wants to keep it that way, especially when it could include unseen footage of Black Panther Party co-founder Huey Newton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s important to fill in the gaps about the history of California and African Americans and the Black Power movement that started in California,” museum interim chief curator Susan Anderson told \u003ca href=\"https://hoodline.com/2018/05/african-american-museum-receives-grant-to-digitize-rare-protest-footage\" target=\"_blank\" rel=\"noopener\">Hoodline Wednesday\u003c/a>.\u003c/p>\n\u003cp>The footage also reportedly features recordings of Vietnam War protesters, as well as student protests at Oakland high schools following the police shooting of 16-year-old Melvin Black in 1979.\u003c/p>\n\u003cp>The grant AAMLO received was one of 16 “Recordings at Risk” grants awarded by the Council on Library and Information Resources (CLIR) this spring. The grant specifically for supporting “the preservation of rare and unique audio and audiovisual content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After digitizing the film, which AAMLO representatives estimate will take a year to complete, the museum will post the film online and make it accessible to the public. The footage will also be made available for licensing to filmmakers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year San Francisco chooses a book to read together, and this year the selection is \u003cem>Black Against Empire,\u003c/em> an engrossing history about the Black Panther Party by Joshua Bloom and Waldo E. Martin.\u003c/p>\n\u003cp>This marks the first year the \u003cem>One City One Book\u003c/em> pick is strongly academic, albeit one that Oakland’s Alicia Garza felt changed by — a few months after reading, she created #BlackLivesMatter. Winner of the American Book Award in 2014, \u003cem>Black Against Empire \u003c/em>is a fascinating, sweeping study of the leftist movement that boldly fought for equal rights, opportunity, and freedom — with free breakfasts, freedom schools, free ambulances, health clinics, but also with desperate or even violent methods.\u003c/p>\n\u003cfigure id=\"attachment_13809139\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809139\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg\" alt=\"\" width=\"800\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-768x861.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1020x1143.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1180x1323.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-960x1076.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-240x269.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-375x420.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-520x583.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention.jpg 1338w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Convention, Lincoln Memorial. 1970. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom and Martin are meticulous analysts of the hotbed of national issues that fomented the rise of the Black Panthers, and in \u003cem>Black Against Empire,\u003c/em> their research throws the larger national context — and thus how it might apply to our present times — into high relief. For the month of October, the Library extends a deep mediation on the Panthers and the history of the black community struggling for the basic rights that any other American takes for granted with an exciting array of programming, including film screenings, panels, and bicycle history tours.\u003c/p>\n\u003cp>At the San Francisco Public Library, Naomi Jelks, who helped pick the book, tells me \u003cem>Black Against Empire\u003c/em> is resonant, comprehensive, powerful — a book that made her think of Alphonse Karr’s adage, “The more things change, the more they stay the same.” When I visit, it’s Saturday morning. There are no librarians around, but their individual stacks of books, left precariously balanced by desks and cabinets throughout the offices give the whole place the feel of suspended animation. The nooks and crannies above the cabinets are piled high with bright plastic top hats sporting queer book covers fastened to the sash (leftovers from a Pride event, I am told, and imagined by a staff member who worked in a circus.)\u003c/p>\n\u003cfigure id=\"attachment_13809150\" class=\"wp-caption aligncenter\" style=\"max-width: 697px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13809150 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg\" alt=\"\" width=\"697\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg 697w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-240x292.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-375x456.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-520x632.jpg 520w\" sizes=\"(max-width: 697px) 100vw, 697px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Newspaper. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>“The deciding factor in selecting this book really had to do with the times that we’re living in,” Jelks said. “Oakland was not only (in 1967) the birthplace of the Black Panthers, it was also the birthplace for the movement for Black Lives, or, #BlackLivesMatter. In the Bay Area, the struggle for black and brown communities is still in dealing with issues of police brutality, or struggles with creating respectful relationships with the police. We really wanted to have a space where we look at that history and how it applies in today’s world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The addition of \u003cem>Black Against Empire\u003c/em> into the annals of the \u003cem>One City One Book\u003c/em> program was a willful expansion of the San Franciscan Summer of Love (which just celebrated its 50th anniversary) to include what was going on with people of color in the country and the unfortunate prejudices they still face today.\u003c/p>\n\u003cfigure id=\"attachment_13809143\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg\" alt=\"Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, 'No Coward Soldiers: Black Cultural Politics in Postwar America.'\" width=\"280\" height=\"352\" class=\"size-full wp-image-13809143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, ‘No Coward Soldiers: Black Cultural Politics in Postwar America.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Against Empire\u003c/em>—in its study of the boiling-kettle politics involved in emergent revolution and state actions to quell and undermine such revolutions—is a look into how the Black Panther rose from a two-person idea in Oakland, to a nationwide organization capable of threatening the state. The conditions that gave rise to the Black Panthers included the containment of black people in poverty, under police brutality, segregation, and lack of equal opportunity. The very first Black Panther action followed the 1966 killing of sixteen-year-old Matthew Johnson in Hunter’s Point — he was shot in the back fleeing from police. After the incident, Black Panther founders Bobby Seale and Huey Newton found their calling: they would protect black lives by patrolling their neighborhoods.\u003c/p>\n\u003cp>Seale and Newton gathered two friends and began driving the streets. They openly carried legal firearms and confronted police officers (who had no short history of violence) with a newfound pride. Citing local ordinances and the constitution, the Panthers clung to their right to bear arms and did not submit to the police who tried to disarm them. \u003cem>Black Against Empire \u003c/em>takes readers through this crucial moment in history, showing just how inconceivable and welcome was the image of a black person standing up against a police officer and coming out of it alive. The Panthers caught the nation’s political imagination.\u003c/p>\n\u003cfigure id=\"attachment_13809142\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg\" alt=\"\" width=\"280\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Bloom, Assistant Professor of Sociology at the University of Pittsburg and co-editor of “Working for Justice: The L.A. Model of Organizing and Advocacy.”\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area readers who dig into this rich, voluminous study will be rewarded with a better understanding of our present time. Kevin Hunsanger, who also sits in the \u003cem>One Book One City \u003c/em>committee, said, “\u003cem>Black Against Empire \u003c/em>not only offers a wonderfully readable history of the Black Panther movement, but is also a road map of sorts of successful protests, and something that is equally vital today — and quite possibly more vital tomorrow. Plus, the book has the notorious distinction of having won a National Book Critic’s Circle award, while also being banned in California prison systems.”\u003c/p>\n\u003cp>Indeed. Make your way to some of the robust programming this Fall. Here are three not to miss:\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 29, at 1pm.\u003c/strong> \u003cbr>\n\u003cem>The Irrepressible Politics of the Black Panther Party (\u003c/em>\u003cem>Main Library, Koret Auditorium, 100 Larkin St.)\u003cbr>\n\u003c/em>Join authors Joshua Bloom and Waldo Martin in conversation with journalist and hip hop historian “Davey D” Cook to discuss \u003cem>Black Against Empire\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 7, at 1pm.\u003c/strong>\u003cbr>\n\u003cem>Bicycle Tour with the bike collective Red Bike and Green\u003c/em> (\u003cem>Meet at Defermery Park in Oakland)\u003cbr>\n\u003c/em>Defemery Park, a.k.a. Little Bobby Hutton Park, is an important location for the Panthers. Billy Famer, archivist for the Black Panthers, will offer an introduction to set off the bike ride through historical sites involving the Black Panther Party.\u003c/p>\n\u003cp>\u003cstrong>Tuesdays, Oct. 10 and 24, at 6pm. \u003c/strong>\u003cbr>\n\u003cem>Hands on History (Main Library, SF History Center, 100 Larkin St., 6th floor)\u003cbr>\n\u003c/em>Here is your opportunity to touch and feel the ephemera of Black Panthers and San Francisco legacy of resistance. Includes a close-up look at original manuscripts, newspapers, and photographs.\u003c/p>\n\u003cp>More events and information \u003ca href=\"https://sfpl.org/pdf/book-and-materials/one-city-one-book/programGuide2017.pdf\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Black Against Empire is available now at your local library and for sale wherever books are sold. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year San Francisco chooses a book to read together, and this year the selection is \u003cem>Black Against Empire,\u003c/em> an engrossing history about the Black Panther Party by Joshua Bloom and Waldo E. Martin.\u003c/p>\n\u003cp>This marks the first year the \u003cem>One City One Book\u003c/em> pick is strongly academic, albeit one that Oakland’s Alicia Garza felt changed by — a few months after reading, she created #BlackLivesMatter. Winner of the American Book Award in 2014, \u003cem>Black Against Empire \u003c/em>is a fascinating, sweeping study of the leftist movement that boldly fought for equal rights, opportunity, and freedom — with free breakfasts, freedom schools, free ambulances, health clinics, but also with desperate or even violent methods.\u003c/p>\n\u003cfigure id=\"attachment_13809139\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809139\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg\" alt=\"\" width=\"800\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-768x861.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1020x1143.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1180x1323.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-960x1076.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-240x269.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-375x420.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-520x583.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention.jpg 1338w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Convention, Lincoln Memorial. 1970. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom and Martin are meticulous analysts of the hotbed of national issues that fomented the rise of the Black Panthers, and in \u003cem>Black Against Empire,\u003c/em> their research throws the larger national context — and thus how it might apply to our present times — into high relief. For the month of October, the Library extends a deep mediation on the Panthers and the history of the black community struggling for the basic rights that any other American takes for granted with an exciting array of programming, including film screenings, panels, and bicycle history tours.\u003c/p>\n\u003cp>At the San Francisco Public Library, Naomi Jelks, who helped pick the book, tells me \u003cem>Black Against Empire\u003c/em> is resonant, comprehensive, powerful — a book that made her think of Alphonse Karr’s adage, “The more things change, the more they stay the same.” When I visit, it’s Saturday morning. There are no librarians around, but their individual stacks of books, left precariously balanced by desks and cabinets throughout the offices give the whole place the feel of suspended animation. The nooks and crannies above the cabinets are piled high with bright plastic top hats sporting queer book covers fastened to the sash (leftovers from a Pride event, I am told, and imagined by a staff member who worked in a circus.)\u003c/p>\n\u003cfigure id=\"attachment_13809150\" class=\"wp-caption aligncenter\" style=\"max-width: 697px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13809150 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg\" alt=\"\" width=\"697\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg 697w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-240x292.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-375x456.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-520x632.jpg 520w\" sizes=\"(max-width: 697px) 100vw, 697px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Newspaper. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>“The deciding factor in selecting this book really had to do with the times that we’re living in,” Jelks said. “Oakland was not only (in 1967) the birthplace of the Black Panthers, it was also the birthplace for the movement for Black Lives, or, #BlackLivesMatter. In the Bay Area, the struggle for black and brown communities is still in dealing with issues of police brutality, or struggles with creating respectful relationships with the police. We really wanted to have a space where we look at that history and how it applies in today’s world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The addition of \u003cem>Black Against Empire\u003c/em> into the annals of the \u003cem>One City One Book\u003c/em> program was a willful expansion of the San Franciscan Summer of Love (which just celebrated its 50th anniversary) to include what was going on with people of color in the country and the unfortunate prejudices they still face today.\u003c/p>\n\u003cfigure id=\"attachment_13809143\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg\" alt=\"Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, 'No Coward Soldiers: Black Cultural Politics in Postwar America.'\" width=\"280\" height=\"352\" class=\"size-full wp-image-13809143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, ‘No Coward Soldiers: Black Cultural Politics in Postwar America.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Against Empire\u003c/em>—in its study of the boiling-kettle politics involved in emergent revolution and state actions to quell and undermine such revolutions—is a look into how the Black Panther rose from a two-person idea in Oakland, to a nationwide organization capable of threatening the state. The conditions that gave rise to the Black Panthers included the containment of black people in poverty, under police brutality, segregation, and lack of equal opportunity. The very first Black Panther action followed the 1966 killing of sixteen-year-old Matthew Johnson in Hunter’s Point — he was shot in the back fleeing from police. After the incident, Black Panther founders Bobby Seale and Huey Newton found their calling: they would protect black lives by patrolling their neighborhoods.\u003c/p>\n\u003cp>Seale and Newton gathered two friends and began driving the streets. They openly carried legal firearms and confronted police officers (who had no short history of violence) with a newfound pride. Citing local ordinances and the constitution, the Panthers clung to their right to bear arms and did not submit to the police who tried to disarm them. \u003cem>Black Against Empire \u003c/em>takes readers through this crucial moment in history, showing just how inconceivable and welcome was the image of a black person standing up against a police officer and coming out of it alive. The Panthers caught the nation’s political imagination.\u003c/p>\n\u003cfigure id=\"attachment_13809142\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg\" alt=\"\" width=\"280\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Bloom, Assistant Professor of Sociology at the University of Pittsburg and co-editor of “Working for Justice: The L.A. Model of Organizing and Advocacy.”\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area readers who dig into this rich, voluminous study will be rewarded with a better understanding of our present time. Kevin Hunsanger, who also sits in the \u003cem>One Book One City \u003c/em>committee, said, “\u003cem>Black Against Empire \u003c/em>not only offers a wonderfully readable history of the Black Panther movement, but is also a road map of sorts of successful protests, and something that is equally vital today — and quite possibly more vital tomorrow. Plus, the book has the notorious distinction of having won a National Book Critic’s Circle award, while also being banned in California prison systems.”\u003c/p>\n\u003cp>Indeed. Make your way to some of the robust programming this Fall. Here are three not to miss:\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 29, at 1pm.\u003c/strong> \u003cbr>\n\u003cem>The Irrepressible Politics of the Black Panther Party (\u003c/em>\u003cem>Main Library, Koret Auditorium, 100 Larkin St.)\u003cbr>\n\u003c/em>Join authors Joshua Bloom and Waldo Martin in conversation with journalist and hip hop historian “Davey D” Cook to discuss \u003cem>Black Against Empire\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 7, at 1pm.\u003c/strong>\u003cbr>\n\u003cem>Bicycle Tour with the bike collective Red Bike and Green\u003c/em> (\u003cem>Meet at Defermery Park in Oakland)\u003cbr>\n\u003c/em>Defemery Park, a.k.a. Little Bobby Hutton Park, is an important location for the Panthers. Billy Famer, archivist for the Black Panthers, will offer an introduction to set off the bike ride through historical sites involving the Black Panther Party.\u003c/p>\n\u003cp>\u003cstrong>Tuesdays, Oct. 10 and 24, at 6pm. \u003c/strong>\u003cbr>\n\u003cem>Hands on History (Main Library, SF History Center, 100 Larkin St., 6th floor)\u003cbr>\n\u003c/em>Here is your opportunity to touch and feel the ephemera of Black Panthers and San Francisco legacy of resistance. Includes a close-up look at original manuscripts, newspapers, and photographs.\u003c/p>\n\u003cp>More events and information \u003ca href=\"https://sfpl.org/pdf/book-and-materials/one-city-one-book/programGuide2017.pdf\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Black Against Empire is available now at your local library and for sale wherever books are sold. \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>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "de-young-summer-of-love-50th-anniversary",
"title": "At the de Young, the 'Summer of Love Experience' Is a Broken Record",
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"content": "\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In honor of the Summer of Love's 50th anniversary, the museum rehashes surface-level aesthetics, fashion and ephemera from 1967 — with barely any connection to today.",
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"title": "At the de Young, the 'Summer of Love Experience' Is a Broken Record | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-todays-artist-activists-can-learn-from-the-black-panthers-50-years-on",
"title": "What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On",
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"headTitle": "What Today’s Artist-Activists Can Learn From the Black Panthers, 50 Years On | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/286361203″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>If you want to get a sense of how art goes hand in hand with political activism, spend a little time with Emory Douglas and Ericka Huggins.\u003c/p>\n\u003cp>[contextly_sidebar id=”1UDJ59Jc9T1K13PaaWlHS2spN4LnP16i”]As “Minister of Culture” and a lead graphic artist for the Panthers, Douglas created striking images for the party’s weekly newspaper, like \u003ca href=\"https://ancienttofuture.files.wordpress.com/2011/08/emory-pigs.jpg\" target=\"_blank\" rel=\"noopener\">a famous ink drawing of an angry-looking pig dressed as a cop\u003c/a>, armed to the snout with a baseball bat and canisters of tear gas and mace. “It symbolically represents the police themselves in relationship to their bad manners in the community,” says Douglas, who joined the party in 1967.\u003c/p>\n\u003cfigure id=\"attachment_12163403\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg\" alt=\"Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016.\" width=\"1200\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-800x395.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-960x474.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Black Panther Party always had art, music, dance, even fashion, as a way of thinking about how we shift cultural awareness,” says poet, educator and activist Ericka Huggins, who joined the organization when she was 18.\u003c/p>\n\u003cp>Beyond helping to shape the public’s views around issues like racial discrimination and police brutality against black Americans, Huggins says art also brought in much-needed bail money and helped pay legal fees as Panthers increasingly found themselves on the wrong side of the law. Rock bands like the Grateful Dead, and the Panthers’ own funk group, the Lumpen, performed benefits for party members like Bobby Seale, who was charged with inciting a riot following the 1968 Democratic National Convention in Chicago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lumpen - Free Bobby Now - Seize The Time.wmv\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/e01mZDrdmLw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3>Issues continue 50 years on\u003c/h3>\n\u003cp>As the Black Panther Party celebrates the 50th anniversary of its 1966 founding in Oakland with a slew of cultural events ranging from major museum exhibitions to concerts to underground dance shows, artists observe how little things have changed in five decades for black Americans. “The year marker might be different, but the conversations are much the same,” says Oakland musician and activist Jay-Marie Hill, who plays with the band \u003ca href=\"http://wearefarfetched.net/album/the-revolution-has-come\" target=\"_blank\" rel=\"noopener\">Reverend Sekou & the Holy Ghost\u003c/a>.\u003c/p>\n\u003cp>Bay Area artists like Hill are riffing off the Panther’s legacy to create art aimed at inspiring a modern-day revolution. The musician didn’t start out paying much attention to the Panthers. “I wasn’t connected to the history of black activism even as I grew up in the Bay Area,” Hill says. But struck by the near-constant barrage of news about Black Americans being shot and killed by police, she decided to devote herself full-time to making protest music.\u003c/p>\n\u003cfigure id=\"attachment_12159751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg\" alt=\"Oakland musician and activist Jay Marie Hill\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-400x226.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-960x542.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403.jpeg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician and activist Jay Marie Hill. \u003ccite>(Photo: Courtesy Paul Weaver Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill admires the Panthers’ sense of urgency toward their mission. “Something that the Panthers were absolute about was we are not going to wait for your approval,” Hill says. “We’re coming. We have these demands and we’re not going to wait for you to say it’s OK.”\u003c/p>\n\u003cp>You can hear it in Hill’s forceful song, “We Comin’.” With lyrics like “No more water / Fire next time / If we don’t get no justice / You don’t get no peace’a mind / We ready / We comin,'” the song, Hill says, is inspired by the Panthers’ insistent call to action; their refusal to sit around.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/242410166″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>But Hill says looking to the Panthers will only get today’s activists so far. For her, it’s a matter of gender politics. “One of the differences of this movement, in this moment, is that we’re not down with the men being in front,” Hill says. “And there’s women who can nuance the conversation and really take care of the people.”\u003c/p>\n\u003ch3>Women up front\u003c/h3>\n\u003cp>I met many artists who feel the same way as Hill, and are also using the Panthers’ 50th anniversary as a way to refocus attention away from men and onto women. Women made up the majority of the Party’s membership, and did a huge share of its positive work in the community.\u003c/p>\n\u003cp>Those are facts that some arts organizations want to make plain. The curators at \u003ca href=\"https://oakland.impacthub.net\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, a co-working and creative space in the city’s Uptown neighborhood, commissioned six local contemporary artists including Karen Seneferu and Ain Bailey to contribute art to \u003cem>Sister Comrade\u003c/em>, a multimedia installation honoring some of the most prominent women of the Black Panther Party, such as Elaine Brown, Tarika Lewis and Huggins. The installation is part of \u003ca href=\"https://oakland.impacthub.net/event/opening-nite-reception-survival-pending-revolutionblack-panther-party-50/\" target=\"_blank\" rel=\"noopener\">\u003cem>Survival Pending Revolution: Black Panther Party 50\u003c/em>\u003c/a>, a larger series of programs at Impact Hub featuring archival material and Panther-related talks and other events.\u003c/p>\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ installation honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re looking at the legacy of the feminine divine and women’s voices and making decisions that impact everyone,” says Ashara Ekundayo, who runs Impact Hub Oakland.\u003c/p>\n\u003cp>Meanwhile, the members of \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, also based in Oakland, are presenting a new version of \u003cem>Project Panther\u003c/em>, a theater and dance piece the company initially created in 1996 in honor of the Panthers’ 30th anniversary. This time around, though, they’ve added a female actor for the upcoming performances at the Malonga Casquelourd Center for the Arts in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_12159746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg\" alt=\"Dimensions Dance Theater company mmebers in a scene from 'Project Panther'. Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater company members in a scene from ‘Project Panther.’ Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud. \u003ccite>( Photo: Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But let’s give credit where credit is due, my brothers!,” says the nameless woman, played by actor Brittany Turner, in a scene in which she faces off against two male comrades. “The women in the BPP held it down, truth be told! You could not have done it without us! Then tell the whole story. We helped with the students, the paper, breakfast programs, spreading awareness, right?!”\u003c/p>\n\u003ch3>Spotlight on the rank and file\u003c/h3>\n\u003cp>Another critique levied by modern-day artists against the culture surrounding the Panthers has to do with the glorification of its leaders. Party celebrities like Huey Newton, convicted of manslaughter charges in 1968, were frequent targets of FBI investigations and the focus of much of the controversy surrounding the Party.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Live Black Panthers Free Huey Rally Filmed in Aug 1968\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/dkMmeu6FVIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As a result, many artists now want to look at the important role ordinary people played in furthering the Panthers’ mission, rather than on its figureheads. “I would call it adding a dimension to the Panthers’ story that really hasn’t been told yet and that’s the viewpoint of the rank and file members,” says photojournalist Bryan Shih, co-author, along with historian Yohuru Williams, of the new book of portraits of still-living Panthers, \u003ca href=\"https://www.amazon.com/Black-Panthers-Portraits-Unfinished-Revolution/dp/1568585551/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Black Panthers: An Unfinished Revolution\u003c/em>\u003c/a>. “The effect of the portraits is to really humanize people that I think have been really demonized,” Shih says.\u003c/p>\n\u003cp>One of the many striking portraits in the book is of Richard Brown. Brown was a coordinator of Black Panther jobs and education programs at a San Francisco community center. In the photo, taken recently, the 75-year-old wears a leather jacket and a T-shirt bearing the slogan “All Power to the People.” Brown stares at the camera knowingly — daring us to take up the revolutionary mantle.\u003c/p>\n\u003cfigure id=\"attachment_12164407\" class=\"wp-caption aligncenter\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12164407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg\" alt=\"Portrait of ex-Panther Richard Brown from the new book 'The Black Panthers: An Unfinished Revolution' by Bryan Shih and Yohuru Williams.\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-400x401.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-768x771.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1176x1180.jpeg 1176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1920x1927.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1180x1184.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-960x963.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-150x150.jpeg 150w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ex-Panther Richard Brown from the new book ‘The Black Panthers: An Unfinished Revolution’ by Bryan Shih and Yohuru Williams. \u003ccite>(Photo: Bryan Shih)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art that dares people to continue the fight\u003c/h3>\n\u003cp>If you want to follow in Brown’s footsteps, a good place to start your schooling is at the Oakland Museum of California’s new exhibition, \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">\u003cem>All Power to the People: The Black Panthers At Fifty\u003c/em>\u003c/a>. Among the many artifacts and artworks on display, the exhibition includes 39 of Shih’s portraits.\u003c/p>\n\u003cp>But the first thing you’ll come across as you enter the galleries is a bronze replica of an enormous wicker chair. This is artist Sam Durant’s rendering of Huey Newton’s throne in what has become perhaps the Panthers’ most iconic image.\u003c/p>\n\u003cfigure id=\"attachment_12159758\" class=\"wp-caption aligncenter\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg\" alt=\"Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family.\" width=\"464\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-913x1180.jpg 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1920x2483.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1180x1526.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-960x1241.jpg 960w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And museum curator René de Guzman says there’s a twist: it’s interactive. “The public’s invited to sit in it,” de Guzman says. “So physically they can sit within the legacy of the Black Panther Party and reflect upon those ideas.”\u003c/p>\n\u003cp>Step up. Take a seat. Have a think. These artists hope you’ll take cues from the past to build a better world for the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/06/the-bay-area-celebrates-the-black-panther-party-at-50/\" target=\"_blank\" rel=\"noopener\">See our guide \u003c/a>for a full list of events, exhibitions, performances and conferences around the Bay Area commemorating the 50th anniversary of the Black Panther Party’s founding.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg\" alt=\"Sam Durant Proposal for a Monument to Huey Newton at the Alameda County Courthouse Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition\" width=\"635\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant: Proposal for a Monument to Huey Newton at the Alameda County Courthouse\u003cbr>Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "As the Black Panther Party for Self Defense celebrates the 50th anniversary of its founding in Oakland, Bay Area artists create work to inspire a modern-day revolution.",
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"title": "What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On | KQED",
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"headline": "What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/286361203″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/286361203″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you want to get a sense of how art goes hand in hand with political activism, spend a little time with Emory Douglas and Ericka Huggins.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>As “Minister of Culture” and a lead graphic artist for the Panthers, Douglas created striking images for the party’s weekly newspaper, like \u003ca href=\"https://ancienttofuture.files.wordpress.com/2011/08/emory-pigs.jpg\" target=\"_blank\" rel=\"noopener\">a famous ink drawing of an angry-looking pig dressed as a cop\u003c/a>, armed to the snout with a baseball bat and canisters of tear gas and mace. “It symbolically represents the police themselves in relationship to their bad manners in the community,” says Douglas, who joined the party in 1967.\u003c/p>\n\u003cfigure id=\"attachment_12163403\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg\" alt=\"Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016.\" width=\"1200\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-800x395.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-960x474.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Black Panther Party always had art, music, dance, even fashion, as a way of thinking about how we shift cultural awareness,” says poet, educator and activist Ericka Huggins, who joined the organization when she was 18.\u003c/p>\n\u003cp>Beyond helping to shape the public’s views around issues like racial discrimination and police brutality against black Americans, Huggins says art also brought in much-needed bail money and helped pay legal fees as Panthers increasingly found themselves on the wrong side of the law. Rock bands like the Grateful Dead, and the Panthers’ own funk group, the Lumpen, performed benefits for party members like Bobby Seale, who was charged with inciting a riot following the 1968 Democratic National Convention in Chicago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lumpen - Free Bobby Now - Seize The Time.wmv\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/e01mZDrdmLw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3>Issues continue 50 years on\u003c/h3>\n\u003cp>As the Black Panther Party celebrates the 50th anniversary of its 1966 founding in Oakland with a slew of cultural events ranging from major museum exhibitions to concerts to underground dance shows, artists observe how little things have changed in five decades for black Americans. “The year marker might be different, but the conversations are much the same,” says Oakland musician and activist Jay-Marie Hill, who plays with the band \u003ca href=\"http://wearefarfetched.net/album/the-revolution-has-come\" target=\"_blank\" rel=\"noopener\">Reverend Sekou & the Holy Ghost\u003c/a>.\u003c/p>\n\u003cp>Bay Area artists like Hill are riffing off the Panther’s legacy to create art aimed at inspiring a modern-day revolution. The musician didn’t start out paying much attention to the Panthers. “I wasn’t connected to the history of black activism even as I grew up in the Bay Area,” Hill says. But struck by the near-constant barrage of news about Black Americans being shot and killed by police, she decided to devote herself full-time to making protest music.\u003c/p>\n\u003cfigure id=\"attachment_12159751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg\" alt=\"Oakland musician and activist Jay Marie Hill\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-400x226.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-960x542.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403.jpeg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician and activist Jay Marie Hill. \u003ccite>(Photo: Courtesy Paul Weaver Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill admires the Panthers’ sense of urgency toward their mission. “Something that the Panthers were absolute about was we are not going to wait for your approval,” Hill says. “We’re coming. We have these demands and we’re not going to wait for you to say it’s OK.”\u003c/p>\n\u003cp>You can hear it in Hill’s forceful song, “We Comin’.” With lyrics like “No more water / Fire next time / If we don’t get no justice / You don’t get no peace’a mind / We ready / We comin,'” the song, Hill says, is inspired by the Panthers’ insistent call to action; their refusal to sit around.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/242410166″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/242410166″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Hill says looking to the Panthers will only get today’s activists so far. For her, it’s a matter of gender politics. “One of the differences of this movement, in this moment, is that we’re not down with the men being in front,” Hill says. “And there’s women who can nuance the conversation and really take care of the people.”\u003c/p>\n\u003ch3>Women up front\u003c/h3>\n\u003cp>I met many artists who feel the same way as Hill, and are also using the Panthers’ 50th anniversary as a way to refocus attention away from men and onto women. Women made up the majority of the Party’s membership, and did a huge share of its positive work in the community.\u003c/p>\n\u003cp>Those are facts that some arts organizations want to make plain. The curators at \u003ca href=\"https://oakland.impacthub.net\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, a co-working and creative space in the city’s Uptown neighborhood, commissioned six local contemporary artists including Karen Seneferu and Ain Bailey to contribute art to \u003cem>Sister Comrade\u003c/em>, a multimedia installation honoring some of the most prominent women of the Black Panther Party, such as Elaine Brown, Tarika Lewis and Huggins. The installation is part of \u003ca href=\"https://oakland.impacthub.net/event/opening-nite-reception-survival-pending-revolutionblack-panther-party-50/\" target=\"_blank\" rel=\"noopener\">\u003cem>Survival Pending Revolution: Black Panther Party 50\u003c/em>\u003c/a>, a larger series of programs at Impact Hub featuring archival material and Panther-related talks and other events.\u003c/p>\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ installation honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re looking at the legacy of the feminine divine and women’s voices and making decisions that impact everyone,” says Ashara Ekundayo, who runs Impact Hub Oakland.\u003c/p>\n\u003cp>Meanwhile, the members of \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, also based in Oakland, are presenting a new version of \u003cem>Project Panther\u003c/em>, a theater and dance piece the company initially created in 1996 in honor of the Panthers’ 30th anniversary. This time around, though, they’ve added a female actor for the upcoming performances at the Malonga Casquelourd Center for the Arts in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_12159746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg\" alt=\"Dimensions Dance Theater company mmebers in a scene from 'Project Panther'. Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater company members in a scene from ‘Project Panther.’ Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud. \u003ccite>( Photo: Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But let’s give credit where credit is due, my brothers!,” says the nameless woman, played by actor Brittany Turner, in a scene in which she faces off against two male comrades. “The women in the BPP held it down, truth be told! You could not have done it without us! Then tell the whole story. We helped with the students, the paper, breakfast programs, spreading awareness, right?!”\u003c/p>\n\u003ch3>Spotlight on the rank and file\u003c/h3>\n\u003cp>Another critique levied by modern-day artists against the culture surrounding the Panthers has to do with the glorification of its leaders. Party celebrities like Huey Newton, convicted of manslaughter charges in 1968, were frequent targets of FBI investigations and the focus of much of the controversy surrounding the Party.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Live Black Panthers Free Huey Rally Filmed in Aug 1968\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/dkMmeu6FVIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As a result, many artists now want to look at the important role ordinary people played in furthering the Panthers’ mission, rather than on its figureheads. “I would call it adding a dimension to the Panthers’ story that really hasn’t been told yet and that’s the viewpoint of the rank and file members,” says photojournalist Bryan Shih, co-author, along with historian Yohuru Williams, of the new book of portraits of still-living Panthers, \u003ca href=\"https://www.amazon.com/Black-Panthers-Portraits-Unfinished-Revolution/dp/1568585551/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Black Panthers: An Unfinished Revolution\u003c/em>\u003c/a>. “The effect of the portraits is to really humanize people that I think have been really demonized,” Shih says.\u003c/p>\n\u003cp>One of the many striking portraits in the book is of Richard Brown. Brown was a coordinator of Black Panther jobs and education programs at a San Francisco community center. In the photo, taken recently, the 75-year-old wears a leather jacket and a T-shirt bearing the slogan “All Power to the People.” Brown stares at the camera knowingly — daring us to take up the revolutionary mantle.\u003c/p>\n\u003cfigure id=\"attachment_12164407\" class=\"wp-caption aligncenter\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12164407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg\" alt=\"Portrait of ex-Panther Richard Brown from the new book 'The Black Panthers: An Unfinished Revolution' by Bryan Shih and Yohuru Williams.\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-400x401.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-768x771.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1176x1180.jpeg 1176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1920x1927.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1180x1184.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-960x963.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-150x150.jpeg 150w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ex-Panther Richard Brown from the new book ‘The Black Panthers: An Unfinished Revolution’ by Bryan Shih and Yohuru Williams. \u003ccite>(Photo: Bryan Shih)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art that dares people to continue the fight\u003c/h3>\n\u003cp>If you want to follow in Brown’s footsteps, a good place to start your schooling is at the Oakland Museum of California’s new exhibition, \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">\u003cem>All Power to the People: The Black Panthers At Fifty\u003c/em>\u003c/a>. Among the many artifacts and artworks on display, the exhibition includes 39 of Shih’s portraits.\u003c/p>\n\u003cp>But the first thing you’ll come across as you enter the galleries is a bronze replica of an enormous wicker chair. This is artist Sam Durant’s rendering of Huey Newton’s throne in what has become perhaps the Panthers’ most iconic image.\u003c/p>\n\u003cfigure id=\"attachment_12159758\" class=\"wp-caption aligncenter\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg\" alt=\"Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family.\" width=\"464\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-913x1180.jpg 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1920x2483.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1180x1526.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-960x1241.jpg 960w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And museum curator René de Guzman says there’s a twist: it’s interactive. “The public’s invited to sit in it,” de Guzman says. “So physically they can sit within the legacy of the Black Panther Party and reflect upon those ideas.”\u003c/p>\n\u003cp>Step up. Take a seat. Have a think. These artists hope you’ll take cues from the past to build a better world for the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/06/the-bay-area-celebrates-the-black-panther-party-at-50/\" target=\"_blank\" rel=\"noopener\">See our guide \u003c/a>for a full list of events, exhibitions, performances and conferences around the Bay Area commemorating the 50th anniversary of the Black Panther Party’s founding.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg\" alt=\"Sam Durant Proposal for a Monument to Huey Newton at the Alameda County Courthouse Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition\" width=\"635\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant: Proposal for a Monument to Huey Newton at the Alameda County Courthouse\u003cbr>Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-area-celebrates-the-black-panther-party-at-50",
"title": "The Bay Area Celebrates the Black Panther Party at 50",
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"headTitle": "The Bay Area Celebrates the Black Panther Party at 50 | KQED",
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"content": "\u003cp>No matter how one looks at it, the Black Panther Party for Self Defense is an indelible part of U.S. history. Founded in October 1966 to empower the black community, its potent brand of social activism has inspired movements around the world.\u003c/p>\n\u003cp>[contextly_sidebar id=”TrQGVkEjM8LOvODYeFcdBfeklZ4a5fAu”]\u003c/p>\n\u003cp>Fifty years on, the Bay Area celebrates the revolutionary group that dug its roots in Oakland, commemorating the Panthers’ legacy and history through dance, song and the visual arts. Here are some of the ways in which organizations and artists around the Bay Area are celebrating the anniversary:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159754 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"400\" height=\"226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Survival Pending Revolution: Black Panther Party at 50 Years\u003c/em> and \u003cem>Comrade Sister\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Jan. 7\u003cbr>\nImpact Hub, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/opening-nite-reception-survival-pending-revolutionblack-panther-party-50-tickets-27926611246\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Impact Hub Oakland’s Omi Gallery features photographs from archivist Lisbet Tellefsen’s extensive collection on the Black Panther Party’s history. Also on view is the show \u003cem>Comrade Sister\u003c/em>, showcasing pieces that celebrate women’s efforts within the revolutionary organization.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11980297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11980297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg\" alt=\"Emory Douglas, 'H. Rap Brown (Man with Match),' 1967.\" width=\"400\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘H. Rap Brown (Man with Match),’ 1967. \u003ccite>(Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Point is… 2.0\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Oct. 29\u003cbr>\nJoyce Gordon Gallery, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/174650739611315/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Oakland Maroons Art Collective and former Black Panther Party Minister of Culture Emory Douglas present work reflecting the Black Panther Party’s 10 Point Program as it relates to contemporary culture.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12164019\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12164019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Angela400-400x444.jpg\" alt=\"Richard Duardo / Lekit, 'Angela Davis'\" width=\"400\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">Richard Duardo / Lekit, ‘Angela Davis’ \u003ccite>(Courtesy of ICONIC: Black Panther Art Exhibit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>ICONIC: Black Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Nov. 6\u003cbr>\nAmerican Steel Studios, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/218884251860637/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The multi-city exhibit curates work by local artists, international talents and founding Black Panther Party members that respond to the organization’s historical efforts as well as issues surrounding race, culture, class and gender.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159554\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159554 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg\" alt=\"A model wears Madow Futur's apparel.\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig.jpg 1100w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Madow Futur’s apparel. \u003ccite>(Courtesy of Madow Futur.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>50 Years Later: The Art Show\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7\u003cbr>\nSoleSpace, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/541981209341123/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black-owned, Oakland-based clothing company Madow Futur combines fashion, art, and music to respond to the same issues challenged by the Black Panther Party and commemorate the organization’s work through a youth-oriented lens.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12155111\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12155111 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg\" alt=\"Bobby Hutton, the Black Panther Party's treasurer and first recruit.\" width=\"400\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton.jpg 597w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutton, the Black Panther Party’s treasurer and first recruit. \u003ccite>(Courtesy of Life is Living Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Life is Living Festival\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nDeFremery Park, Oakland\u003cbr>\n\u003ca href=\"http://youthspeaks.org/lifeisliving\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Now in its ninth year, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/03/sound-advice-life-is-living-festival/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a> pays tribute to the Black Panther Party on the organization’s 50th anniversary with social justice workshops, a free breakfast program and other community events, all aptly set in the newly-dedicated “Bobby Hutton Grove” named in honor of the young Black Panther who was shot by police.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg\" alt=\"Sam Durant, 'Proposal for a Monument to Huey Newton at the Alameda County Courthouse.'\" width=\"400\" height=\"255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant, ‘Proposal for a Monument to Huey Newton at the Alameda County Courthouse.’ \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>All Power to the People: Black Panthers at 50\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Feb. 12\u003cbr>\nOakland Museum of California, Oakland\u003cbr>\n\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Oakland Museum of California explores and recreates the history of the Black Panther Party from multiple perspectives through artifacts, personal accounts and iconic and contemporary art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159167\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159167 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg\" alt=\"Members of Oakland’s Dimensions Dance Theater perform 'Project Panther,' choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts.\" width=\"400\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-960x610.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Members of Oakland’s Dimensions Dance Theater perform ‘Project Panther,’ choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts. \u003ccite>(Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Project Panther\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/project-panther-tickets-27059125573\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Under direction of Company Artistic Director Deborah Vaughan, African American dance company Dimensions Dance Theater reflects on race, politics and the Black Panther Party’s place in our cultural history.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10359322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10359322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg\" alt=\"Jeffrey Blankfort, 'Black Panther Protest,' 1960s.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Blankfort, ‘Black Panther Protest,’ 1960s. \u003ccite>(Courtesy African American Art & Culture Complex)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Panther Party 50th Anniversary Conference and Gala\u003c/h3>\n\u003ch5>Oct. 20 -23\u003cbr>\nOakland Museum of California, Oscar Grant (City Hall) Plaza, Bobby Hutton Grove (DeFremery Park)\u003cbr>\n\u003ca href=\"http://www.bpp50th.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Organized by former members of the Black Panther Party, the three-day conference seeks to explore and celebrate the organization’s history, as well as examine the ways these experiences are applied in our current social climate through open workshops and panels.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12194689\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12194689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image-800x527.jpeg\" alt=\"Elder Freeman - Southern California Chapter of the Black Panther Party.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-400x264.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-768x506.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elder Freeman – Southern California Chapter of the Black Panther Party. \u003ccite>(Courtesy of Suzun Lucia Lamaina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Exhibition and Book Signing of \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>\u003c/h3>\n\u003ch5>Oct. 22 – Feb. 28\u003cbr>\nAfrican American Museum and Library, Oakland\u003cbr>\n\u003ca href=\"http://www.oaklandlibrary.org/events/african-american-museum-library-oakland/opening-reception-aamlos-exhibit-revolutionary-grain-\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Documentary photographer \u003ca href=\"http://www.susannalamainaphotography.com/\" target=\"_blank\" rel=\"noopener\">Suzun Lucia Lamaina\u003c/a> spent the past five years traveling across the United States taking portraits of and speaking to more than 65 former members of the Black Panther Party. She collects all those stories in her book, \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12254719\" class=\"wp-caption alignleft\" style=\"max-width: 394px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12254719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg\" alt=\"Counterculture newspapers on display as part of the Revolution Times exhibit. \" width=\"394\" height=\"295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-520x390.jpg 520w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003cfigcaption class=\"wp-caption-text\">Counterculture newspapers on display as part of the Revolution Times exhibit. \u003ccite>(Courtesy of Revolution Times Facebook.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Revolution Times: Underground Press of the ’60s and ’70s\u003c/em>\u003c/h3>\n\u003ch5>Oct. 20 – Dec. 1\u003cbr>\nSan Francisco State University Fine Arts Building\u003cbr>\n\u003ca href=\"http://lca.sfsu.edu/events/2016-10-20-070000-2016-11-18-080000/815379\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black Panther Party historian Billy X Jennings shares publications from his archives that challenged societal norms and helped organize the counterculture movement in the 1960s and 1970s. Jennings will speak about the collection at a gallery talk and reception on November 3..\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Events on both sides of the Bay commemorate the organization's legacy and history through dance, song and the visual arts.",
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"title": "The Bay Area Celebrates the Black Panther Party at 50 | KQED",
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"headline": "The Bay Area Celebrates the Black Panther Party at 50",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No matter how one looks at it, the Black Panther Party for Self Defense is an indelible part of U.S. history. Founded in October 1966 to empower the black community, its potent brand of social activism has inspired movements around the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fifty years on, the Bay Area celebrates the revolutionary group that dug its roots in Oakland, commemorating the Panthers’ legacy and history through dance, song and the visual arts. Here are some of the ways in which organizations and artists around the Bay Area are celebrating the anniversary:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159754 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"400\" height=\"226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Survival Pending Revolution: Black Panther Party at 50 Years\u003c/em> and \u003cem>Comrade Sister\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Jan. 7\u003cbr>\nImpact Hub, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/opening-nite-reception-survival-pending-revolutionblack-panther-party-50-tickets-27926611246\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Impact Hub Oakland’s Omi Gallery features photographs from archivist Lisbet Tellefsen’s extensive collection on the Black Panther Party’s history. Also on view is the show \u003cem>Comrade Sister\u003c/em>, showcasing pieces that celebrate women’s efforts within the revolutionary organization.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11980297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11980297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg\" alt=\"Emory Douglas, 'H. Rap Brown (Man with Match),' 1967.\" width=\"400\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘H. Rap Brown (Man with Match),’ 1967. \u003ccite>(Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Point is… 2.0\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Oct. 29\u003cbr>\nJoyce Gordon Gallery, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/174650739611315/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Oakland Maroons Art Collective and former Black Panther Party Minister of Culture Emory Douglas present work reflecting the Black Panther Party’s 10 Point Program as it relates to contemporary culture.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12164019\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12164019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Angela400-400x444.jpg\" alt=\"Richard Duardo / Lekit, 'Angela Davis'\" width=\"400\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">Richard Duardo / Lekit, ‘Angela Davis’ \u003ccite>(Courtesy of ICONIC: Black Panther Art Exhibit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>ICONIC: Black Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Nov. 6\u003cbr>\nAmerican Steel Studios, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/218884251860637/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The multi-city exhibit curates work by local artists, international talents and founding Black Panther Party members that respond to the organization’s historical efforts as well as issues surrounding race, culture, class and gender.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159554\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159554 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg\" alt=\"A model wears Madow Futur's apparel.\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig.jpg 1100w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Madow Futur’s apparel. \u003ccite>(Courtesy of Madow Futur.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>50 Years Later: The Art Show\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7\u003cbr>\nSoleSpace, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/541981209341123/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black-owned, Oakland-based clothing company Madow Futur combines fashion, art, and music to respond to the same issues challenged by the Black Panther Party and commemorate the organization’s work through a youth-oriented lens.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12155111\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12155111 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg\" alt=\"Bobby Hutton, the Black Panther Party's treasurer and first recruit.\" width=\"400\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton.jpg 597w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutton, the Black Panther Party’s treasurer and first recruit. \u003ccite>(Courtesy of Life is Living Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Life is Living Festival\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nDeFremery Park, Oakland\u003cbr>\n\u003ca href=\"http://youthspeaks.org/lifeisliving\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Now in its ninth year, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/03/sound-advice-life-is-living-festival/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a> pays tribute to the Black Panther Party on the organization’s 50th anniversary with social justice workshops, a free breakfast program and other community events, all aptly set in the newly-dedicated “Bobby Hutton Grove” named in honor of the young Black Panther who was shot by police.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg\" alt=\"Sam Durant, 'Proposal for a Monument to Huey Newton at the Alameda County Courthouse.'\" width=\"400\" height=\"255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant, ‘Proposal for a Monument to Huey Newton at the Alameda County Courthouse.’ \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>All Power to the People: Black Panthers at 50\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Feb. 12\u003cbr>\nOakland Museum of California, Oakland\u003cbr>\n\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Oakland Museum of California explores and recreates the history of the Black Panther Party from multiple perspectives through artifacts, personal accounts and iconic and contemporary art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159167\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159167 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg\" alt=\"Members of Oakland’s Dimensions Dance Theater perform 'Project Panther,' choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts.\" width=\"400\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-960x610.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Members of Oakland’s Dimensions Dance Theater perform ‘Project Panther,’ choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts. \u003ccite>(Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Project Panther\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/project-panther-tickets-27059125573\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Under direction of Company Artistic Director Deborah Vaughan, African American dance company Dimensions Dance Theater reflects on race, politics and the Black Panther Party’s place in our cultural history.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10359322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10359322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg\" alt=\"Jeffrey Blankfort, 'Black Panther Protest,' 1960s.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Blankfort, ‘Black Panther Protest,’ 1960s. \u003ccite>(Courtesy African American Art & Culture Complex)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Panther Party 50th Anniversary Conference and Gala\u003c/h3>\n\u003ch5>Oct. 20 -23\u003cbr>\nOakland Museum of California, Oscar Grant (City Hall) Plaza, Bobby Hutton Grove (DeFremery Park)\u003cbr>\n\u003ca href=\"http://www.bpp50th.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Organized by former members of the Black Panther Party, the three-day conference seeks to explore and celebrate the organization’s history, as well as examine the ways these experiences are applied in our current social climate through open workshops and panels.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12194689\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12194689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image-800x527.jpeg\" alt=\"Elder Freeman - Southern California Chapter of the Black Panther Party.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-400x264.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-768x506.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elder Freeman – Southern California Chapter of the Black Panther Party. \u003ccite>(Courtesy of Suzun Lucia Lamaina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Exhibition and Book Signing of \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>\u003c/h3>\n\u003ch5>Oct. 22 – Feb. 28\u003cbr>\nAfrican American Museum and Library, Oakland\u003cbr>\n\u003ca href=\"http://www.oaklandlibrary.org/events/african-american-museum-library-oakland/opening-reception-aamlos-exhibit-revolutionary-grain-\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Documentary photographer \u003ca href=\"http://www.susannalamainaphotography.com/\" target=\"_blank\" rel=\"noopener\">Suzun Lucia Lamaina\u003c/a> spent the past five years traveling across the United States taking portraits of and speaking to more than 65 former members of the Black Panther Party. She collects all those stories in her book, \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12254719\" class=\"wp-caption alignleft\" style=\"max-width: 394px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12254719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg\" alt=\"Counterculture newspapers on display as part of the Revolution Times exhibit. \" width=\"394\" height=\"295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-520x390.jpg 520w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003cfigcaption class=\"wp-caption-text\">Counterculture newspapers on display as part of the Revolution Times exhibit. \u003ccite>(Courtesy of Revolution Times Facebook.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Revolution Times: Underground Press of the ’60s and ’70s\u003c/em>\u003c/h3>\n\u003ch5>Oct. 20 – Dec. 1\u003cbr>\nSan Francisco State University Fine Arts Building\u003cbr>\n\u003ca href=\"http://lca.sfsu.edu/events/2016-10-20-070000-2016-11-18-080000/815379\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black Panther Party historian Billy X Jennings shares publications from his archives that challenged societal norms and helped organize the counterculture movement in the 1960s and 1970s. Jennings will speak about the collection at a gallery talk and reception on November 3..\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Husband-and-wife photographers Pirkle Jones and Ruth-Marion Baruch had a ringside seat to much of California’s mid 20\u003csup>th\u003c/sup> century. They took tens of thousands of pictures of migrant workers, environmentally threatened communities and perhaps most famously, the Black Panthers during their hey day in Oakland.\u003c/p>\n\u003cp>The vast majority of their work — more than 12,000 prints and 25,000 negatives — \u003ca href=\"http://news.ucsc.edu/2016/10/jones-baruch-gift.html\" target=\"_blank\" rel=\"noopener\">now call UC Santa Cruz home\u003c/a>. It’s the largest single gift in the campus’s history, with an estimated value of $32 million.\u003c/p>\n\u003cp>“They were people who were very interested in documenting social, and political and environmental issues,” says Elisabeth Remak-Honnef, who heads of Special Collections and Archives at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_12155711\" class=\"wp-caption alignright\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155711\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg\" alt=\"Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968\" width=\"403\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-792x1180.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut.jpg 1800w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef figures it’ll take at least two years to catalog everything, including a selection of works by big names Jones and Baruch studied and worked with: Ansel Adams, Dorothea Lange, and Edward Weston. But some of the Black Panther photographs have already been sent to the Oakland Museum for this weekend’s opening of \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Drawn to California\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baruch was born in Berlin, and immigrated to New York City in 1927. She got an undergraduate degree at the University of Missouri but came west to attend the California School of Fine Arts (now the San Francisco Art Institute), where she studied with the likes of Ansel Adams, Minor White, Homer Page, and Edward Weston\u003c/p>\n\u003cp>Jones, originally from Shreveport, Louisiana, joined the first class taught by Ansel Adams in 1946. He became Adams’ assistant in 1949 and taught at the school for 28 years, beginning in 1952.\u003c/p>\n\u003cp>Jones and Adams became friends, as well as colleagues, and met Baruch through Adams.\u003c/p>\n\u003cp>Jones and Adams co-taught a summer session at UC Santa Cruz called “Words and Images” in 1969. Though Jones settled in Mill Valley with Baruch, he never forgot UCSC. “He thought [Santa Cruz] was a very beautiful place,” says Remak-Honnef. “He liked the quirkiness of the campus. He liked the political activism on the campus.”\u003c/p>\n\u003cp>The archive will be housed in \u003ca href=\"http://guides.library.ucsc.edu/c.php?g=119809&p=2394http://guides.library.ucsc.edu/speccoll/jones-slideshow444\" target=\"_blank\" rel=\"noopener\">McHenry Library’s Special Collections\u003c/a>, already home to a smaller collection the couple \u003ca href=\"http://www1.ucsc.edu/currents/02-03/01-06/pirkle_jones.html\" target=\"_blank\" rel=\"noopener\">gave to UC Santa Cruz in 2003\u003c/a>. “I really feel this collection has come home to where it belonged and where it was intended to end up,” Remak-Honnef added.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/286053711″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Black Panther Days\u003c/strong>\u003c/p>\n\u003cp>The Panther series of photographs came about in 1968 when Baruch was introduced to Kathleen Cleaver, wife of Black Panther party leader Eldridge Cleaver. Given unprecedented access to the inner circle of the Black Panthers, Jones and Baruch took photographs from July through October of that year.\u003c/p>\n\u003cp>The photos caused an uproar at the time. San Francisco’s de Young Museum, which was mounting a show, was tempted to cancel the exhibition, but went ahead. The show drew 100,000 visitors.\u003c/p>\n\u003cp>In 2004, Jones told the \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-pirkle-jones24-2009mar24-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, “I had professional clients who said, ‘What in the world are you doing photographing Panthers?’ I’d just sort of shrug my shoulders. I did the talking through the photographs.'”\u003c/p>\n\u003cp>\u003cstrong>Haight Ashbury\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12155521\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg\" alt=\"Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967\" width=\"383\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-400x627.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-768x1203.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-753x1180.jpg 753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-1180x1849.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-960x1504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut.jpg 1800w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef says UC Santa Cruz also plans to loan items to the de Young Museum in San Francisco for their upcoming Summer of Love exhibition.\u003c/p>\n\u003cp>“I find that the photos that Ruth-Marion Baruch’s photographs of people are absolutely extraordinary,” Remak Honnef said. “She had a way of capturing human beings that I think was just superb.”\u003c/p>\n\u003cp>That said, not all the photos are of people. Both photographers had a keen interested in Bay Area landscapes, cityscapes, and environmental politics.\u003c/p>\n\u003cp>Jones collaborated with Lange on “The Death of a Valley 1956,” which portrayed the Berryessa Valley in Napa County during the year before completion of the Monticello Dam that flooded the valley. (See photo above.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The stories Pirkle and Ruth-Marion captured from the 1940s through the 1970s are just as relevant today as when they were created,” Remak Honnef muses. “50 years later, we’re still addressing the very same questions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Husband-and-wife photographers Pirkle Jones and Ruth-Marion Baruch had a ringside seat to much of California’s mid 20\u003csup>th\u003c/sup> century. They took tens of thousands of pictures of migrant workers, environmentally threatened communities and perhaps most famously, the Black Panthers during their hey day in Oakland.\u003c/p>\n\u003cp>The vast majority of their work — more than 12,000 prints and 25,000 negatives — \u003ca href=\"http://news.ucsc.edu/2016/10/jones-baruch-gift.html\" target=\"_blank\" rel=\"noopener\">now call UC Santa Cruz home\u003c/a>. It’s the largest single gift in the campus’s history, with an estimated value of $32 million.\u003c/p>\n\u003cp>“They were people who were very interested in documenting social, and political and environmental issues,” says Elisabeth Remak-Honnef, who heads of Special Collections and Archives at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_12155711\" class=\"wp-caption alignright\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155711\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg\" alt=\"Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968\" width=\"403\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-792x1180.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut.jpg 1800w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef figures it’ll take at least two years to catalog everything, including a selection of works by big names Jones and Baruch studied and worked with: Ansel Adams, Dorothea Lange, and Edward Weston. But some of the Black Panther photographs have already been sent to the Oakland Museum for this weekend’s opening of \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Drawn to California\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baruch was born in Berlin, and immigrated to New York City in 1927. She got an undergraduate degree at the University of Missouri but came west to attend the California School of Fine Arts (now the San Francisco Art Institute), where she studied with the likes of Ansel Adams, Minor White, Homer Page, and Edward Weston\u003c/p>\n\u003cp>Jones, originally from Shreveport, Louisiana, joined the first class taught by Ansel Adams in 1946. He became Adams’ assistant in 1949 and taught at the school for 28 years, beginning in 1952.\u003c/p>\n\u003cp>Jones and Adams became friends, as well as colleagues, and met Baruch through Adams.\u003c/p>\n\u003cp>Jones and Adams co-taught a summer session at UC Santa Cruz called “Words and Images” in 1969. Though Jones settled in Mill Valley with Baruch, he never forgot UCSC. “He thought [Santa Cruz] was a very beautiful place,” says Remak-Honnef. “He liked the quirkiness of the campus. He liked the political activism on the campus.”\u003c/p>\n\u003cp>The archive will be housed in \u003ca href=\"http://guides.library.ucsc.edu/c.php?g=119809&p=2394http://guides.library.ucsc.edu/speccoll/jones-slideshow444\" target=\"_blank\" rel=\"noopener\">McHenry Library’s Special Collections\u003c/a>, already home to a smaller collection the couple \u003ca href=\"http://www1.ucsc.edu/currents/02-03/01-06/pirkle_jones.html\" target=\"_blank\" rel=\"noopener\">gave to UC Santa Cruz in 2003\u003c/a>. “I really feel this collection has come home to where it belonged and where it was intended to end up,” Remak-Honnef added.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/286053711″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/286053711″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Black Panther Days\u003c/strong>\u003c/p>\n\u003cp>The Panther series of photographs came about in 1968 when Baruch was introduced to Kathleen Cleaver, wife of Black Panther party leader Eldridge Cleaver. Given unprecedented access to the inner circle of the Black Panthers, Jones and Baruch took photographs from July through October of that year.\u003c/p>\n\u003cp>The photos caused an uproar at the time. San Francisco’s de Young Museum, which was mounting a show, was tempted to cancel the exhibition, but went ahead. The show drew 100,000 visitors.\u003c/p>\n\u003cp>In 2004, Jones told the \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-pirkle-jones24-2009mar24-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, “I had professional clients who said, ‘What in the world are you doing photographing Panthers?’ I’d just sort of shrug my shoulders. I did the talking through the photographs.'”\u003c/p>\n\u003cp>\u003cstrong>Haight Ashbury\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12155521\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg\" alt=\"Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967\" width=\"383\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-400x627.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-768x1203.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-753x1180.jpg 753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-1180x1849.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-960x1504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut.jpg 1800w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef says UC Santa Cruz also plans to loan items to the de Young Museum in San Francisco for their upcoming Summer of Love exhibition.\u003c/p>\n\u003cp>“I find that the photos that Ruth-Marion Baruch’s photographs of people are absolutely extraordinary,” Remak Honnef said. “She had a way of capturing human beings that I think was just superb.”\u003c/p>\n\u003cp>That said, not all the photos are of people. Both photographers had a keen interested in Bay Area landscapes, cityscapes, and environmental politics.\u003c/p>\n\u003cp>Jones collaborated with Lange on “The Death of a Valley 1956,” which portrayed the Berryessa Valley in Napa County during the year before completion of the Monticello Dam that flooded the valley. (See photo above.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The stories Pirkle and Ruth-Marion captured from the 1940s through the 1970s are just as relevant today as when they were created,” Remak Honnef muses. “50 years later, we’re still addressing the very same questions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering the Time Tupac Shakur Sued the Oakland Police for $10 Million",
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"content": "\u003cp>In honor of the late rapper’s birthday, Oakland has \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">proclaimed June 16 to be Tupac Shakur Day\u003c/a>—a nice, overdue gesture to the years Shakur spent living in Oakland. But the text of the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">official honor\u003c/a> is also missing a key part of Shakur’s history with the city.\u003c/p>\n\u003cp>Mayoral proclamations are usually forgotten after a few years. What’s \u003cem>not\u003c/em> likely to be forgotten is the Oakland Police Department’s jaywalking stop of Tupac Shakur in October 1991, which resulted in Shakur allegedly slammed to the ground and arrested.\u003c/p>\n\u003cp>That’s because in a rare early case of a rap artist suing the police, Shakur subsequently brought a $10 million civil suit against the OPD for their actions—and in an even rarer conclusion, the suit was settled for a reported $42,000.\u003c/p>\n\u003cfigure id=\"attachment_11696582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg\" alt=\"The intersection of 17th and Broadway, where Tupac's incident with police is said to have happened.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-1180x584.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intersection of 17th and Broadway, where Tupac’s incident with police is said to have happened.\u003c/figcaption>\u003c/figure>\n\u003cp>You can read the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">full proclamation\u003c/a>, which recounts Shakur’s involvement with Oakland hip-hop group Digital Underground, his own solo album sales, and his hit songs. But while Oakland’s police department seems to constantly be \u003ca href=\"http://www.eastbayexpress.com/oakland/badge-of-dishonor-top-oakland-police-department-officials-looked-away-as-east-bay-cops-sexually-exploited-and-trafficked-a-teenagerdepartmen/Content?oid=4832543\" target=\"_blank\" rel=\"noopener noreferrer\">in the midst of another scandal\u003c/a>, an additional stanza would seem appropriate today:\u003c/p>\n\u003cp>\u003cem>…and WHEREAS, in our ongoing efforts to better our police force, we remember the ways in which Shakur held our department to a higher standard…\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One can dream.\u003c/p>\n\u003cp>In 1991, Shakur was walking at what’s long been rumored as the intersection of 17th and Broadway in downtown Oakland when he was stopped by officers for jaywalking. What happened next was recounted by Shakur in \u003ca href=\"http://www.daveyd.com/interview2pacrare.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with hip-hop journalist Davey D\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Davey D\u003c/strong>: Can talk about your recent encounter with police brutality at the hands of the Oakland PD?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re letting the law do its job. It’s making its way through the court system. We filed a claim.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Recount the incident for those who don’t know.\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: For everyone who doesn’t know, I, an innocent young black male, was walking down the streets of Oakland minding my own business and the police department saw fit for me to be trained or snapped back into my place. So they asked for my ID and sweated me about my name because my name is “Tupac.” My final words to them was “fuck y’all.” Next thing I know I was in a chokehold passing out with cuffs on, headed for jail for resisting arrest. Yes, you heard right—I was arrested for resisting arrest.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Where is all this now?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re in the midst of having a $10 million dollar lawsuit against the Oakland Police Department. If I win and get the money, then the Oakland Police department is going to buy a Boys Home, me a house, my family a house, and a ‘Stop Police Brutality Center’ and other little odd things like that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11696580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg\" alt=\"Shakur, in the booklet for 'All Eyez on Me.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shakur, in the booklet for ‘All Eyez on Me.’ \u003ccite>(Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur, the son of \u003ca href=\"http://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener noreferrer\">the late Black Panther Afeni Shakur\u003c/a>, was raised with the importance of community building. His goal to build a boys’ home and center for police brutality is even more laudable considering the rapper was without any secure income: his debut album \u003cem>2Pacalypse Now\u003c/em> wouldn’t be released for another month. But Shakur wanted to give back to Oakland, claiming in interviews after moving to L.A. that “I give all my love to Oakland, if I’ma claim somewhere, I’ma claim Oakland… everything I do, you can give it to Oakland.”\u003c/p>\n\u003cp>For more historical context, consider that in 1991, the Rodney King jury had yet to acquit four officers involved in the infamous LAPD beating, and Rodney King had yet to be awarded any damages. As for a young black man suing the police department for what most black residents of Oakland at the time could testify was a routine occurrence? In 1991, that was a brazen move; to Shakur, however, it was simply asserting his civil rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yCYT3T3UBdw\u003c/p>\n\u003cp>And especially before smartphone cameras provided quick, reliable evidence in police brutality cases, a $42,000 settlement to a young rapper—whose music would be the subject of \u003ca href=\"http://www.nytimes.com/1996/09/14/arts/tupac-shakur-25-rap-performer-who-personified-violence-dies.html?pagewanted=2\" target=\"_blank\" rel=\"noopener noreferrer\">an attempted ban by the vice president of the United States\u003c/a> for its criticism of police—was groundbreaking.\u003c/p>\n\u003cp>So, happy Tupac Shakur Day. But while you’re playing “\u003ca href=\"https://www.youtube.com/watch?v=FWOsbGP5Ox4\" target=\"_blank\" rel=\"noopener noreferrer\">California Love\u003c/a>” to celebrate, remember the determined young black man who kept pushing for a better world, kept fighting for his rights, and reminded us all to \u003ca href=\"https://www.youtube.com/watch?v=XW--IGAfeas\" target=\"_blank\" rel=\"noopener noreferrer\">keep our heads up\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Watch one of Shakur’s greatest interview segments below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HuBWjhEax3g\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the late rapper’s birthday, Oakland has \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">proclaimed June 16 to be Tupac Shakur Day\u003c/a>—a nice, overdue gesture to the years Shakur spent living in Oakland. But the text of the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">official honor\u003c/a> is also missing a key part of Shakur’s history with the city.\u003c/p>\n\u003cp>Mayoral proclamations are usually forgotten after a few years. What’s \u003cem>not\u003c/em> likely to be forgotten is the Oakland Police Department’s jaywalking stop of Tupac Shakur in October 1991, which resulted in Shakur allegedly slammed to the ground and arrested.\u003c/p>\n\u003cp>That’s because in a rare early case of a rap artist suing the police, Shakur subsequently brought a $10 million civil suit against the OPD for their actions—and in an even rarer conclusion, the suit was settled for a reported $42,000.\u003c/p>\n\u003cfigure id=\"attachment_11696582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg\" alt=\"The intersection of 17th and Broadway, where Tupac's incident with police is said to have happened.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-1180x584.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intersection of 17th and Broadway, where Tupac’s incident with police is said to have happened.\u003c/figcaption>\u003c/figure>\n\u003cp>You can read the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">full proclamation\u003c/a>, which recounts Shakur’s involvement with Oakland hip-hop group Digital Underground, his own solo album sales, and his hit songs. But while Oakland’s police department seems to constantly be \u003ca href=\"http://www.eastbayexpress.com/oakland/badge-of-dishonor-top-oakland-police-department-officials-looked-away-as-east-bay-cops-sexually-exploited-and-trafficked-a-teenagerdepartmen/Content?oid=4832543\" target=\"_blank\" rel=\"noopener noreferrer\">in the midst of another scandal\u003c/a>, an additional stanza would seem appropriate today:\u003c/p>\n\u003cp>\u003cem>…and WHEREAS, in our ongoing efforts to better our police force, we remember the ways in which Shakur held our department to a higher standard…\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One can dream.\u003c/p>\n\u003cp>In 1991, Shakur was walking at what’s long been rumored as the intersection of 17th and Broadway in downtown Oakland when he was stopped by officers for jaywalking. What happened next was recounted by Shakur in \u003ca href=\"http://www.daveyd.com/interview2pacrare.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with hip-hop journalist Davey D\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Davey D\u003c/strong>: Can talk about your recent encounter with police brutality at the hands of the Oakland PD?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re letting the law do its job. It’s making its way through the court system. We filed a claim.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Recount the incident for those who don’t know.\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: For everyone who doesn’t know, I, an innocent young black male, was walking down the streets of Oakland minding my own business and the police department saw fit for me to be trained or snapped back into my place. So they asked for my ID and sweated me about my name because my name is “Tupac.” My final words to them was “fuck y’all.” Next thing I know I was in a chokehold passing out with cuffs on, headed for jail for resisting arrest. Yes, you heard right—I was arrested for resisting arrest.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Where is all this now?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re in the midst of having a $10 million dollar lawsuit against the Oakland Police Department. If I win and get the money, then the Oakland Police department is going to buy a Boys Home, me a house, my family a house, and a ‘Stop Police Brutality Center’ and other little odd things like that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11696580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg\" alt=\"Shakur, in the booklet for 'All Eyez on Me.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shakur, in the booklet for ‘All Eyez on Me.’ \u003ccite>(Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur, the son of \u003ca href=\"http://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener noreferrer\">the late Black Panther Afeni Shakur\u003c/a>, was raised with the importance of community building. His goal to build a boys’ home and center for police brutality is even more laudable considering the rapper was without any secure income: his debut album \u003cem>2Pacalypse Now\u003c/em> wouldn’t be released for another month. But Shakur wanted to give back to Oakland, claiming in interviews after moving to L.A. that “I give all my love to Oakland, if I’ma claim somewhere, I’ma claim Oakland… everything I do, you can give it to Oakland.”\u003c/p>\n\u003cp>For more historical context, consider that in 1991, the Rodney King jury had yet to acquit four officers involved in the infamous LAPD beating, and Rodney King had yet to be awarded any damages. As for a young black man suing the police department for what most black residents of Oakland at the time could testify was a routine occurrence? In 1991, that was a brazen move; to Shakur, however, it was simply asserting his civil rights.\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/yCYT3T3UBdw'\n title='//www.youtube.com/embed/yCYT3T3UBdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And especially before smartphone cameras provided quick, reliable evidence in police brutality cases, a $42,000 settlement to a young rapper—whose music would be the subject of \u003ca href=\"http://www.nytimes.com/1996/09/14/arts/tupac-shakur-25-rap-performer-who-personified-violence-dies.html?pagewanted=2\" target=\"_blank\" rel=\"noopener noreferrer\">an attempted ban by the vice president of the United States\u003c/a> for its criticism of police—was groundbreaking.\u003c/p>\n\u003cp>So, happy Tupac Shakur Day. But while you’re playing “\u003ca href=\"https://www.youtube.com/watch?v=FWOsbGP5Ox4\" target=\"_blank\" rel=\"noopener noreferrer\">California Love\u003c/a>” to celebrate, remember the determined young black man who kept pushing for a better world, kept fighting for his rights, and reminded us all to \u003ca href=\"https://www.youtube.com/watch?v=XW--IGAfeas\" target=\"_blank\" rel=\"noopener noreferrer\">keep our heads up\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Watch one of Shakur’s greatest interview segments below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HuBWjhEax3g'\n title='//www.youtube.com/embed/HuBWjhEax3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "black-as-ink-revisiting-black-history-through-sf-artists-work",
"title": "Black as Ink: Revisiting Black History Through SF Artist's Work",
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"headTitle": "Black as Ink: Revisiting Black History Through SF Artist’s Work | KQED",
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"content": "\u003cp>While discussions over \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">Beyonce’s Super Bowl one-two punch\u003c/a> and the \u003ca href=\"http://ww2.kqed.org/news/2016/02/22/usc-study-hollywood-has-a-major-diversity-problem\" target=\"_blank\" rel=\"noopener\">continuing controversy\u003c/a> ignited by #OscarsSoWhite packed this year’s Black History Month, art director George McCalman and content strategist Ebony Haight sought to commemorate the occasion by showcasing lesser-known pioneers in black history.\u003c/p>\n\u003cp>The two collaborated on a a series of portraits of Edna Lewis, Gordon Parks and other notable individuals, which are posted on \u003ca href=\"https://www.instagram.com/mccalmanco/\" target=\"_blank\" rel=\"noopener\">McCalman’s company Instagram\u003c/a> under the hashtag #illustratedblackhistory.\u003c/p>\n\u003cp>Haight initially posted stock photos and short biographies of obscure figures in black history on her Instagram, which inspired San Francisco artist McCalman to create a personal project.\u003c/p>\n\u003cp>“I didn’t think about it again until I painted a portrait of \u003ca href=\"https://twitter.com/mccalmanco/status/671868760412688384\" target=\"_blank\" rel=\"noopener\">Rosa Parks\u003c/a> on her birthday, and it flashed in my head to do a series of portraits,” McCalman says. “I just wanted to get to know and foster my own sense of history – it was just an itch I had to scratch.”\u003c/p>\n\u003cp>The black-and-white portraits are done in a mix of pen, pencil, ink and watercolor, each in styles that McCalman felt would reflect his connection to the subjects best. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel like I’m communing with people I’ve never met before through the course of researching them, and I feel inspired all over again when I paint them,” he says. \u003c/p>\n\u003cp>McCalman seeks to produce 29 portraits by the end of Black History Month, though he says there may be plans to extend it to a full year, or even publishing a book on an illustrated guide to black history. \u003c/p>\n\u003cp>“I grew up in an era where black history was something you learned in school, but there tended to be more focus on Civil Rights than the real history throughout the creation of the United States,” McCalman says. “The past year I just realized how critical it is, because even though we have so much technology, we’re still so ignorant about history. I think this is just a different way to access our legacy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Below are a few examples of McCalman’s work, from his \u003ca href=\"https://www.instagram.com/mccalmanco/\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a>:\u003c/i> \u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BB0COn5iPHi/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">A day late but not a dollar short. My friend @isawstephen wrote this poem about Frederick Douglass and Valentines Day yesterday and I thought it was amazing! / Painting: @mccalmanco The Internet has images of hearts and sweethearts on lock today. Instead I'll use this space to embrace the greatest essayist and orator to ever grace this nation. Frederick Douglass was born a slave who did not know his birthday, so he chose Valentine's. He did not read until he was a teen. Knowledge was the pathway for slaves, he would later say. But you need feet for freedom too. \"I prayed for twenty years But received no answer until I prayed with my feet.\" Just one of the infinite number of thought provoking quotes he spoke or wrote. When I think of my words and legacy, my liberties and the things I'd like to leave behind, I find I channel him more than any other man, because of his eloquence, grit and wisdom that continue to outlive him. \"People might not get all they work for in this world, but they must certainly work for all they get.\" I'm flexin my hustle muscle. When I compare my struggle, I'm absolved of my trouble, but emboldened to open doors closed – And move forward. Progress doesn't idle, I suspect my idol would utter. I don't know why he chose Valentine's Maybe because love is liberation It's worth dying for It is a relentless fight with no culmination in which freedom is not uniform and must be formed within the designs of the love you opine – It is a divine celebration. Love is strength and hope. It is your wife the seamstress on the Underground Railroad sewing your clothes like a tailor in the mold of a sailor so you can meet her on the shores of freedom's sea. Love is the opposite of isolation. It is emancipation, and I suspect that's why this birth date was picked by the great abolitionist. #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 15, 2016 at 8:07am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.5% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BBTT5ZAiPE-/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">\"At first I wasn't sure I had the talent, but I did know I had a fear of failure, and that fear compelled me to fight off anything that might abet it.\" – Gordon Parks, photographer, activist, humanitarian. / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #blackhistorymonthphotochallenge #IllustratedBlackHistory #GordonParks\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 2, 2016 at 3:07pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BBqzCLxCPLd/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">Alain LeRoy Locke (b. 1885 – d. 1954) was a writer/philosopher credited as the father of the Harlem Renaissance. He graduated from Harvard University and was the first African American to win a Rhodes Scholarship. He was denied admission to the University of Oxford because of his skin color. He then went on to teach at Howard University after he received his doctorate in philosophy and bachelors in literature. Locke is well known for promoting the arts within the Harlem community and calling on artists to look at Africa for inspiration. / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 11, 2016 at 6:01pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BB5tWFgiPP3/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">My friend @marianisel is a fan of the legendary Celia Cruz (b. 1925 – d. 2003) and I asked her to write a tribute to La Reina de la Salsa. Here is what she said: \"Celia's music has been the soundtrack to much of my Latina life: family cookouts, road trips, deep-house cleaning, and moments when I need an emotional tune-up. She was always around; and as I grew spiritually and politically, so did my love and admiration for Celia. Celia sang with fierce Afro-Cuban pride; she sang of her blackness and her beloved Orishas. There is a long and messy history of anti-blackness in the Latinx community, and Celia was having none of it. There is a moment in the documentary \"Soul Power\" when Celia lands in Zaire, kneels and kisses the ground. She was not allowed to return to her native Cuba for political reasons, but I think that day in Zaire she returned home in a deeper way. In 2003, I was working at Latina magazine when Celia passed. I remember someone yelling the news around the office, and silence fell. We worked diligently to honor her legacy. I had to work on a round-up of her life in pictures, all the while not believing she was gone.\" / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 17, 2016 at 1:00pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BBsy0SVCPHG/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">Kathleen Neal Cleaver (b. 1945) is a lawyer, professor and former Black Panther. She attended a quaker high school and went to Oberlin for college. While there, she became invested in activism and dropped out in 1966 to become involved in the SNCC (Student Nonviolent Coordinating Committee). She met Elridge Cleaver and became involved with the Black Panther party was in its infancy. She became the first woman involved in its central organization and among a small group of women prominent in the party. They were married in 1967. Kathleen went back to school in 1981, attending Yale University, then Yale Law School. She and Eldridge divorced in 1987. She is currently serving as a senior lecturer at Emory University School of Law. / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 12, 2016 at 12:38pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\n",
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"title": "Black as Ink: Revisiting Black History Through SF Artist's Work | KQED",
"description": "While discussions over Beyonce's Super Bowl one-two punch and the continuing controversy ignited by #OscarsSoWhite packed this year's Black History Month, art director George McCalman and content strategist Ebony Haight sought to commemorate the occasion by showcasing lesser-known pioneers in black history. The two collaborated on a a series of portraits of Edna Lewis, Gordon Parks and other notable individuals, which are posted on McCalman’s company Instagram under the hashtag #illustratedblackhistory. Haight initially posted stock photos and short biographies of obscure figures in black history on her Instagram, which inspired San Francisco artist McCalman to create a personal project. “I didn’t think about it again until I painted a portrait of Rosa",
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"headline": "Black as Ink: Revisiting Black History Through SF Artist's Work",
"datePublished": "2016-02-25T17:39:55-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While discussions over \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">Beyonce’s Super Bowl one-two punch\u003c/a> and the \u003ca href=\"http://ww2.kqed.org/news/2016/02/22/usc-study-hollywood-has-a-major-diversity-problem\" target=\"_blank\" rel=\"noopener\">continuing controversy\u003c/a> ignited by #OscarsSoWhite packed this year’s Black History Month, art director George McCalman and content strategist Ebony Haight sought to commemorate the occasion by showcasing lesser-known pioneers in black history.\u003c/p>\n\u003cp>The two collaborated on a a series of portraits of Edna Lewis, Gordon Parks and other notable individuals, which are posted on \u003ca href=\"https://www.instagram.com/mccalmanco/\" target=\"_blank\" rel=\"noopener\">McCalman’s company Instagram\u003c/a> under the hashtag #illustratedblackhistory.\u003c/p>\n\u003cp>Haight initially posted stock photos and short biographies of obscure figures in black history on her Instagram, which inspired San Francisco artist McCalman to create a personal project.\u003c/p>\n\u003cp>“I didn’t think about it again until I painted a portrait of \u003ca href=\"https://twitter.com/mccalmanco/status/671868760412688384\" target=\"_blank\" rel=\"noopener\">Rosa Parks\u003c/a> on her birthday, and it flashed in my head to do a series of portraits,” McCalman says. “I just wanted to get to know and foster my own sense of history – it was just an itch I had to scratch.”\u003c/p>\n\u003cp>The black-and-white portraits are done in a mix of pen, pencil, ink and watercolor, each in styles that McCalman felt would reflect his connection to the subjects best. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel like I’m communing with people I’ve never met before through the course of researching them, and I feel inspired all over again when I paint them,” he says. \u003c/p>\n\u003cp>McCalman seeks to produce 29 portraits by the end of Black History Month, though he says there may be plans to extend it to a full year, or even publishing a book on an illustrated guide to black history. \u003c/p>\n\u003cp>“I grew up in an era where black history was something you learned in school, but there tended to be more focus on Civil Rights than the real history throughout the creation of the United States,” McCalman says. “The past year I just realized how critical it is, because even though we have so much technology, we’re still so ignorant about history. I think this is just a different way to access our legacy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Below are a few examples of McCalman’s work, from his \u003ca href=\"https://www.instagram.com/mccalmanco/\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a>:\u003c/i> \u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BB0COn5iPHi/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">A day late but not a dollar short. My friend @isawstephen wrote this poem about Frederick Douglass and Valentines Day yesterday and I thought it was amazing! / Painting: @mccalmanco The Internet has images of hearts and sweethearts on lock today. Instead I'll use this space to embrace the greatest essayist and orator to ever grace this nation. Frederick Douglass was born a slave who did not know his birthday, so he chose Valentine's. He did not read until he was a teen. Knowledge was the pathway for slaves, he would later say. But you need feet for freedom too. \"I prayed for twenty years But received no answer until I prayed with my feet.\" Just one of the infinite number of thought provoking quotes he spoke or wrote. When I think of my words and legacy, my liberties and the things I'd like to leave behind, I find I channel him more than any other man, because of his eloquence, grit and wisdom that continue to outlive him. \"People might not get all they work for in this world, but they must certainly work for all they get.\" I'm flexin my hustle muscle. When I compare my struggle, I'm absolved of my trouble, but emboldened to open doors closed – And move forward. Progress doesn't idle, I suspect my idol would utter. I don't know why he chose Valentine's Maybe because love is liberation It's worth dying for It is a relentless fight with no culmination in which freedom is not uniform and must be formed within the designs of the love you opine – It is a divine celebration. Love is strength and hope. It is your wife the seamstress on the Underground Railroad sewing your clothes like a tailor in the mold of a sailor so you can meet her on the shores of freedom's sea. Love is the opposite of isolation. It is emancipation, and I suspect that's why this birth date was picked by the great abolitionist. #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 15, 2016 at 8:07am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.5% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BBTT5ZAiPE-/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">\"At first I wasn't sure I had the talent, but I did know I had a fear of failure, and that fear compelled me to fight off anything that might abet it.\" – Gordon Parks, photographer, activist, humanitarian. / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #blackhistorymonthphotochallenge #IllustratedBlackHistory #GordonParks\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 2, 2016 at 3:07pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BBqzCLxCPLd/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">Alain LeRoy Locke (b. 1885 – d. 1954) was a writer/philosopher credited as the father of the Harlem Renaissance. He graduated from Harvard University and was the first African American to win a Rhodes Scholarship. He was denied admission to the University of Oxford because of his skin color. He then went on to teach at Howard University after he received his doctorate in philosophy and bachelors in literature. Locke is well known for promoting the arts within the Harlem community and calling on artists to look at Africa for inspiration. / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 11, 2016 at 6:01pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BB5tWFgiPP3/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">My friend @marianisel is a fan of the legendary Celia Cruz (b. 1925 – d. 2003) and I asked her to write a tribute to La Reina de la Salsa. Here is what she said: \"Celia's music has been the soundtrack to much of my Latina life: family cookouts, road trips, deep-house cleaning, and moments when I need an emotional tune-up. She was always around; and as I grew spiritually and politically, so did my love and admiration for Celia. Celia sang with fierce Afro-Cuban pride; she sang of her blackness and her beloved Orishas. There is a long and messy history of anti-blackness in the Latinx community, and Celia was having none of it. There is a moment in the documentary \"Soul Power\" when Celia lands in Zaire, kneels and kisses the ground. She was not allowed to return to her native Cuba for political reasons, but I think that day in Zaire she returned home in a deeper way. In 2003, I was working at Latina magazine when Celia passed. I remember someone yelling the news around the office, and silence fell. We worked diligently to honor her legacy. I had to work on a round-up of her life in pictures, all the while not believing she was gone.\" / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 17, 2016 at 1:00pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin-left: 100px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:62.4537037037% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BBsy0SVCPHG/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">Kathleen Neal Cleaver (b. 1945) is a lawyer, professor and former Black Panther. She attended a quaker high school and went to Oberlin for college. While there, she became invested in activism and dropped out in 1966 to become involved in the SNCC (Student Nonviolent Coordinating Committee). She met Elridge Cleaver and became involved with the Black Panther party was in its infancy. She became the first woman involved in its central organization and among a small group of women prominent in the party. They were married in 1967. Kathleen went back to school in 1981, attending Yale University, then Yale Law School. She and Eldridge divorced in 1987. She is currently serving as a senior lecturer at Emory University School of Law. / Painting: @mccalmanco #HistoricPOC #BlackHistory #AmericanHistory #BlackBeauty #BlackHistoryMonth #BlackLivesMatter #BlackTwitter #BlackInstagram #OurHistory #EducateYourself #History #Herstory #blackhistorymonthphotochallenge #IllustratedBlackHistory\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by @mccalmanco on Feb 12, 2016 at 12:38pm PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "Original Black Panther Elbert 'Big Man' Howard Broadcasts Jazz's Liberation",
"headTitle": "Original Black Panther Elbert ‘Big Man’ Howard Broadcasts Jazz’s Liberation | KQED",
"content": "\u003cp>Picture the Black Panthers’ relationship to music, and it’s tempting to imagine politicized songs of the revolution — “Say it Loud (I’m Black and I’m Proud)” by James Brown, “When the Revolution Comes” by the Last Poets — played at full volume while party members prepare supplies and plan for the day’s protests.\u003c/p>\n\u003cp>But ask Elbert “Big Man” Howard, and the founding member of the original Black Panther Party remembers it a different way.\u003c/p>\n\u003cp>“In our offices we always had a few records that we played all the time, and wore out some of them,” the former Black Panther says. “I guess you might say it was kind of a therapy for us when we weren’t under pressure implementing some program or dealing with the police and the courts and all that stuff, and we had a chance to relax in our houses.”\u003c/p>\n\u003cfigure id=\"attachment_11331587\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11331587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg\" alt=\"The Black Panthers, with Elbert 'Big Man' Howard at right, engaged in a practice drill.\" width=\"742\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones-400x269.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panthers, with Elbert ‘Big Man’ Howard at right, engaged in a practice drill. \u003ccite>(Pirkle Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, while numerous 50th anniversary remembrances are underway for the Black Panther party (including the documentary \u003cem>The Black Panthers: Vanguard of the Revolution\u003c/em> premiering \u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">Feb. 16 on PBS at 9pm\u003c/a>), “relaxation” isn’t a word often mentioned in the party’s activities. But according to Howard, chilling out was just as important as getting fired up, and music played a large role. “We’d just enjoy ourselves with the old scratchy records we had,” Howard says, “and it sustained us when we weren’t out there dodging arrests from the cops. We used the music as a refuge.”\u003c/p>\n\u003cp>And so the Panthers, in communal houses, unwound to the sounds of Donny Hathaway and Al Green. Founding members Huey Newton and Bobby Seale often played Bob Dylan’s \u003cem>Highway 61 Revisited\u003c/em>. While someone cooked in the kitchen and drinks were refilled, Marvin Gaye or Nina Simone serenaded members from the turntable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Howard had his favorites, too: Tenor saxophonist Joe Henderson, who titled a 1970 album \u003cem>Power to the People;\u003c/em> Les McCann & Eddie Harris’ \u003cem>Swiss Movement\u003c/em>, with the hit “Compared to What.” And of course, there were the bands he’d seen growing up as a boy in Chattanooga, Tennessee: Count Basie, Billy Eckstine, Duke Ellington.\u003c/p>\n\u003cp>Now, at age 78, Howard hosts “Jazz Connections,” a biweekly jazz show on KRCB-FM in Rohnert Park, and “Jazz Styles,” a monthly show on KOWS-FM in Sebastopol — playing the same music that he and his comrades relaxed and shared ideas to 50 years ago.\u003c/p>\n\u003ch3>‘All that stuff just stayed with me’\u003c/h3>\n\u003cp>Growing up in Chattanooga, Howard always heard music around the house. “Gospel, the blues, the country blues, it was always part of life,” he says. “Even had the preachers that preached sermons on the street, and they were great musicians, playing guitar and singing. All of that stuff just stayed with me.”\u003c/p>\n\u003cp>Howard’s musical obsession deepened as a teenager, when he discovered a radio station from Nashville that played new music like Fats Domino and Chuck Berry. “It would come on late at night when I should be sleeping,” Howard says. “I’d have a radio on with a blanket over my head and stuff so nobody could hear it but me. Somewhere in the back of my head I would say to myself, ‘If I ever get to be able to, I would like to be on radio. I’d like to DJ. I’d like to play the records.'”\u003c/p>\n\u003cp>Later, while stationed in France serving in the Air Force, Howard witnessed performances by expatriate American musicians like Lester Young and Don Byas, who fled America for more receptive European lands. These experiences deepened his perspective of jazz as a uniquely American art form. Honorably discharged near Oakland in 1966, Howard still had music on his mind when he met two guys at Merritt College interested in forming an organization to defend black residents against the police. Their names were Bobby Seale and Huey Newton.\u003c/p>\n\u003cfigure id=\"attachment_11331586\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11331586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg\" alt=\"Elbert 'Big Man' Howard in his home in Santa Rosa; framed photos of jazz musicians line the walls.\" width=\"1920\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-960x636.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Elbert ‘Big Man’ Howard in his home in Santa Rosa; framed photos of jazz musicians line the walls. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a founding member of the Black Panther Party at the age of 28, Howard swiftly became the party’s minister of information, editing the group’s official newspaper and eventually traveling overseas to Japan as a spokesman. Because he was ex-military, Howard was crucial to the party’s safety patrol program, and was responsible for teaching the Panthers how to responsibly use their weapons for defense. Howard also initiated a free medical clinic for sickle-cell anemia and a work-study program for parolees at the college.\u003c/p>\n\u003cp>Howard also knew who to ask for support when it came to benefit performances. “Me and a couple of party members, we would always go and attend concerts and do our best to get to see the artist backstage and talk with them, tell them who we were and what we were doing,” Howard says. “Freddie Hubbard — I asked him to come to a rally that we were having come Sunday. He told me, ‘I’ve got to go to L.A., but I’ll be back in this area, and I think I can make that.’ Sure enough, he showed up. George Benson is another one that came through at the height of his popularity. We had a thing down in DeFremery Park, and he came out and borrowed a guitar from one of the bands and played.”\u003c/p>\n\u003cp>It wasn’t just jazz musicians that were interested in the ideals for the party. Chaka Khan was an early party member in the Chicago chapter, as was Nile Rogers, who would later found Chic. Whenever John Lee Hooker was asked to play a benefit, “he’d never refuse,” says Howard. Even John Lennon once sat down with Bobby Seale on television to express his appreciation for the Panthers’ free breakfast program and school initiatives.\u003c/p>\n\u003cp>“A lot of these artists, they helped us,” Howard says. “They knew what our struggle was about, and they agreed to help us in terms of raising funds to get people out of jail and things like that.” John Lennon, for example, donated money for the party’s programs, and “a lot of people don’t know that about him.”\u003c/p>\n\u003ch3>‘I don’t want to see it disappear’\u003c/h3>\n\u003cp>Howard left California in 1974, going back to live under the radar in Tennessee and, wanting a quieter life, rarely talking about his time with the Panthers. Howard’s own daughter, even, was unaware of his involvement in the party until 2001, when he published his autobiography, \u003cem>Panther on the Prowl\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11331585\" class=\"wp-caption alignright\" style=\"max-width: 3264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11331585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_.jpg\" alt=\"Former Black Panther Elbert 'Big Man' Howard hosts 'Jazz Connections' on KRCB-FM in Rohnert Park.\" width=\"3264\" height=\"2448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_.jpg 3264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-960x720.jpg 960w\" sizes=\"(max-width: 3264px) 100vw, 3264px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on KRCB-FM in Rohnert Park. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A bout with prostate cancer in the early 2000s brought Howard back to California, where he finally realized his childhood dream of having a radio show. While living in the small town of Forestville with \u003ca href=\"http://www.sfgate.com/magazine/article/Elbert-Big-Man-Howard-and-Carole-Hyams-3288536.php\" target=\"_blank\" rel=\"noopener\">his wife Carole\u003c/a>, Howard began DJing on a bilingual Spanish-English station, KBBF, before moving to KGGV in Guerneville. Howard now broadcasts once a month on KOWS, out of Occidental, and twice a month on KRCB.\u003c/p>\n\u003cp>Howard is also in the process of compiling a double-CD set of artists he often plays on his show, and who were affiliated in one way or another with the party. The roster includes rock and pop stars like Carlos Santana, Sister Sledge and Curtis Mayfield. But jazz artists comprise much of the compilation — Dexter Gordon, who released an album titled \u003cem>The Panther\u003c/em> and donated funds to the party, Cal Massey, influential composer of \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=O34M-CO6IpA\" target=\"_blank\" rel=\"noopener\">The Black Liberation Movement Suite\u003c/a>\u003c/em>, Archie Shepp, who raised money to get Bobby Seale out of jail, and Oscar Brown, Jr., who was involved with Max Roach’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UsvFzXr-o-8\" target=\"_blank\" rel=\"noopener\">Freedom Now Suite\u003c/a>\u003c/em>. And no Black Panther Party compilation would be complete without a track from the Lumpen, the party’s searing funk group chronicled in Rickey Vincent’s \u003ca href=\"http://www.amazon.com/gp/product/B00F21UDS6/ref=dp-kindle-redirect?ie=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">excellent book\u003c/a> \u003cem>Party Music\u003c/em>. \u003c/p>\n\u003cp>Not everything on Howard’s radio show is linked to the party, or even politics. On a recent Saturday night, he played Ellis Marsalis, Thelonious Monk, Red Garland and Bill Withers back-to-back as part of a four-hour stretch. He even finished his show with a block of songs from a compilation he recently acquired. Harking back to those early days at party headquarters in Oakland, sipping drinks and unwinding, it’s titled \u003cem>The Most Relaxing Jazz in the Universe\u003c/em>.\u003c/p>\n\u003cp>And though his suburban audience doesn’t always know about the DJ’s background, Howard is less concerned about broadcasting his personal history than he is about turning people on to jazz.\u003c/p>\n\u003cp>“I know that there’s a generation that haven’t heard it. That’s why I love playing it,” Howard says. “I love hearing it myself again, of course, but I like to somehow keep it from being lost. I don’t really want to adhere to the popular attitude about ‘that’s old’ and ‘that needs to be dispensed with.’ It’s a part of American life, and I don’t want to see it just disappear.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on the second and fourth Saturdays of each month, 7pm-11pm, on \u003ca href=\"http://radio.krcb.org/people/elbert-bigman-howard#stream/0\" target=\"_blank\" rel=\"noopener\">KRCB-FM in Rohnert Park\u003c/a>. He also hosts ‘Jazz Styles’ on the third Saturday of each month, 2pm-4pm, on \u003ca href=\"http://kows107-3.org/schedule/\" target=\"_blank\" rel=\"noopener\">KOWS-FM in Sebastopol\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture the Black Panthers’ relationship to music, and it’s tempting to imagine politicized songs of the revolution — “Say it Loud (I’m Black and I’m Proud)” by James Brown, “When the Revolution Comes” by the Last Poets — played at full volume while party members prepare supplies and plan for the day’s protests.\u003c/p>\n\u003cp>But ask Elbert “Big Man” Howard, and the founding member of the original Black Panther Party remembers it a different way.\u003c/p>\n\u003cp>“In our offices we always had a few records that we played all the time, and wore out some of them,” the former Black Panther says. “I guess you might say it was kind of a therapy for us when we weren’t under pressure implementing some program or dealing with the police and the courts and all that stuff, and we had a chance to relax in our houses.”\u003c/p>\n\u003cfigure id=\"attachment_11331587\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11331587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg\" alt=\"The Black Panthers, with Elbert 'Big Man' Howard at right, engaged in a practice drill.\" width=\"742\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones-400x269.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panthers, with Elbert ‘Big Man’ Howard at right, engaged in a practice drill. \u003ccite>(Pirkle Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, while numerous 50th anniversary remembrances are underway for the Black Panther party (including the documentary \u003cem>The Black Panthers: Vanguard of the Revolution\u003c/em> premiering \u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">Feb. 16 on PBS at 9pm\u003c/a>), “relaxation” isn’t a word often mentioned in the party’s activities. But according to Howard, chilling out was just as important as getting fired up, and music played a large role. “We’d just enjoy ourselves with the old scratchy records we had,” Howard says, “and it sustained us when we weren’t out there dodging arrests from the cops. We used the music as a refuge.”\u003c/p>\n\u003cp>And so the Panthers, in communal houses, unwound to the sounds of Donny Hathaway and Al Green. Founding members Huey Newton and Bobby Seale often played Bob Dylan’s \u003cem>Highway 61 Revisited\u003c/em>. While someone cooked in the kitchen and drinks were refilled, Marvin Gaye or Nina Simone serenaded members from the turntable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Howard had his favorites, too: Tenor saxophonist Joe Henderson, who titled a 1970 album \u003cem>Power to the People;\u003c/em> Les McCann & Eddie Harris’ \u003cem>Swiss Movement\u003c/em>, with the hit “Compared to What.” And of course, there were the bands he’d seen growing up as a boy in Chattanooga, Tennessee: Count Basie, Billy Eckstine, Duke Ellington.\u003c/p>\n\u003cp>Now, at age 78, Howard hosts “Jazz Connections,” a biweekly jazz show on KRCB-FM in Rohnert Park, and “Jazz Styles,” a monthly show on KOWS-FM in Sebastopol — playing the same music that he and his comrades relaxed and shared ideas to 50 years ago.\u003c/p>\n\u003ch3>‘All that stuff just stayed with me’\u003c/h3>\n\u003cp>Growing up in Chattanooga, Howard always heard music around the house. “Gospel, the blues, the country blues, it was always part of life,” he says. “Even had the preachers that preached sermons on the street, and they were great musicians, playing guitar and singing. All of that stuff just stayed with me.”\u003c/p>\n\u003cp>Howard’s musical obsession deepened as a teenager, when he discovered a radio station from Nashville that played new music like Fats Domino and Chuck Berry. “It would come on late at night when I should be sleeping,” Howard says. “I’d have a radio on with a blanket over my head and stuff so nobody could hear it but me. Somewhere in the back of my head I would say to myself, ‘If I ever get to be able to, I would like to be on radio. I’d like to DJ. I’d like to play the records.'”\u003c/p>\n\u003cp>Later, while stationed in France serving in the Air Force, Howard witnessed performances by expatriate American musicians like Lester Young and Don Byas, who fled America for more receptive European lands. These experiences deepened his perspective of jazz as a uniquely American art form. Honorably discharged near Oakland in 1966, Howard still had music on his mind when he met two guys at Merritt College interested in forming an organization to defend black residents against the police. Their names were Bobby Seale and Huey Newton.\u003c/p>\n\u003cfigure id=\"attachment_11331586\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11331586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg\" alt=\"Elbert 'Big Man' Howard in his home in Santa Rosa; framed photos of jazz musicians line the walls.\" width=\"1920\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-960x636.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Elbert ‘Big Man’ Howard in his home in Santa Rosa; framed photos of jazz musicians line the walls. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a founding member of the Black Panther Party at the age of 28, Howard swiftly became the party’s minister of information, editing the group’s official newspaper and eventually traveling overseas to Japan as a spokesman. Because he was ex-military, Howard was crucial to the party’s safety patrol program, and was responsible for teaching the Panthers how to responsibly use their weapons for defense. Howard also initiated a free medical clinic for sickle-cell anemia and a work-study program for parolees at the college.\u003c/p>\n\u003cp>Howard also knew who to ask for support when it came to benefit performances. “Me and a couple of party members, we would always go and attend concerts and do our best to get to see the artist backstage and talk with them, tell them who we were and what we were doing,” Howard says. “Freddie Hubbard — I asked him to come to a rally that we were having come Sunday. He told me, ‘I’ve got to go to L.A., but I’ll be back in this area, and I think I can make that.’ Sure enough, he showed up. George Benson is another one that came through at the height of his popularity. We had a thing down in DeFremery Park, and he came out and borrowed a guitar from one of the bands and played.”\u003c/p>\n\u003cp>It wasn’t just jazz musicians that were interested in the ideals for the party. Chaka Khan was an early party member in the Chicago chapter, as was Nile Rogers, who would later found Chic. Whenever John Lee Hooker was asked to play a benefit, “he’d never refuse,” says Howard. Even John Lennon once sat down with Bobby Seale on television to express his appreciation for the Panthers’ free breakfast program and school initiatives.\u003c/p>\n\u003cp>“A lot of these artists, they helped us,” Howard says. “They knew what our struggle was about, and they agreed to help us in terms of raising funds to get people out of jail and things like that.” John Lennon, for example, donated money for the party’s programs, and “a lot of people don’t know that about him.”\u003c/p>\n\u003ch3>‘I don’t want to see it disappear’\u003c/h3>\n\u003cp>Howard left California in 1974, going back to live under the radar in Tennessee and, wanting a quieter life, rarely talking about his time with the Panthers. Howard’s own daughter, even, was unaware of his involvement in the party until 2001, when he published his autobiography, \u003cem>Panther on the Prowl\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11331585\" class=\"wp-caption alignright\" style=\"max-width: 3264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11331585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_.jpg\" alt=\"Former Black Panther Elbert 'Big Man' Howard hosts 'Jazz Connections' on KRCB-FM in Rohnert Park.\" width=\"3264\" height=\"2448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_.jpg 3264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-960x720.jpg 960w\" sizes=\"(max-width: 3264px) 100vw, 3264px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on KRCB-FM in Rohnert Park. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A bout with prostate cancer in the early 2000s brought Howard back to California, where he finally realized his childhood dream of having a radio show. While living in the small town of Forestville with \u003ca href=\"http://www.sfgate.com/magazine/article/Elbert-Big-Man-Howard-and-Carole-Hyams-3288536.php\" target=\"_blank\" rel=\"noopener\">his wife Carole\u003c/a>, Howard began DJing on a bilingual Spanish-English station, KBBF, before moving to KGGV in Guerneville. Howard now broadcasts once a month on KOWS, out of Occidental, and twice a month on KRCB.\u003c/p>\n\u003cp>Howard is also in the process of compiling a double-CD set of artists he often plays on his show, and who were affiliated in one way or another with the party. The roster includes rock and pop stars like Carlos Santana, Sister Sledge and Curtis Mayfield. But jazz artists comprise much of the compilation — Dexter Gordon, who released an album titled \u003cem>The Panther\u003c/em> and donated funds to the party, Cal Massey, influential composer of \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=O34M-CO6IpA\" target=\"_blank\" rel=\"noopener\">The Black Liberation Movement Suite\u003c/a>\u003c/em>, Archie Shepp, who raised money to get Bobby Seale out of jail, and Oscar Brown, Jr., who was involved with Max Roach’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UsvFzXr-o-8\" target=\"_blank\" rel=\"noopener\">Freedom Now Suite\u003c/a>\u003c/em>. And no Black Panther Party compilation would be complete without a track from the Lumpen, the party’s searing funk group chronicled in Rickey Vincent’s \u003ca href=\"http://www.amazon.com/gp/product/B00F21UDS6/ref=dp-kindle-redirect?ie=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">excellent book\u003c/a> \u003cem>Party Music\u003c/em>. \u003c/p>\n\u003cp>Not everything on Howard’s radio show is linked to the party, or even politics. On a recent Saturday night, he played Ellis Marsalis, Thelonious Monk, Red Garland and Bill Withers back-to-back as part of a four-hour stretch. He even finished his show with a block of songs from a compilation he recently acquired. Harking back to those early days at party headquarters in Oakland, sipping drinks and unwinding, it’s titled \u003cem>The Most Relaxing Jazz in the Universe\u003c/em>.\u003c/p>\n\u003cp>And though his suburban audience doesn’t always know about the DJ’s background, Howard is less concerned about broadcasting his personal history than he is about turning people on to jazz.\u003c/p>\n\u003cp>“I know that there’s a generation that haven’t heard it. That’s why I love playing it,” Howard says. “I love hearing it myself again, of course, but I like to somehow keep it from being lost. I don’t really want to adhere to the popular attitude about ‘that’s old’ and ‘that needs to be dispensed with.’ It’s a part of American life, and I don’t want to see it just disappear.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on the second and fourth Saturdays of each month, 7pm-11pm, on \u003ca href=\"http://radio.krcb.org/people/elbert-bigman-howard#stream/0\" target=\"_blank\" rel=\"noopener\">KRCB-FM in Rohnert Park\u003c/a>. He also hosts ‘Jazz Styles’ on the third Saturday of each month, 2pm-4pm, on \u003ca href=\"http://kows107-3.org/schedule/\" target=\"_blank\" rel=\"noopener\">KOWS-FM in Sebastopol\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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