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"content": "\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"auto, (max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"auto, (max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Yahya Abdul-Mateen II on Playing Bobby Seale in 'The Trial of the Chicago 7'",
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"content": "\u003cp>The new film \u003cem>The Trial of the Chicago 7\u003c/em> may be focused on the antiwar protests of the 1960s, but it draws distinct parallels to the protests in the streets, complaints about police violence and divisive politics that the U.S. faces today.\u003c/p>\n\u003cp>The film—which was written and directed by Aaron Sorkin and is out now on Netflix—follows eight different men who protested the Vietnam War at the 1968 Democratic National Convention in Chicago. [aside postid='arts_13854692']\u003c/p>\n\u003cp>Police cracked down on the protests, leaving hundreds injured and arrested. Months after the convention, a new administration led by President Richard Nixon charged the eight men with crossing state lines with the intent to start a riot. Several of the defendants did not know each other.\u003c/p>\n\u003cp>The infamous, months-long trial became known as the trial of the Chicago 7, even though eight people were on trial initially. The eighth defendant was Bobby Seale, co-founder of the Black Panther Party. Seale was the only Black defendant, and the judge, Julius Hoffman, treated him with particular bias.\u003c/p>\n\u003cp>Hoffman, played in the film by Frank Langella, refused to delay Seale’s trial, despite his lawyer having just had gallbladder surgery so he couldn’t be present. Each time Seale tried to bring this up and ask for a fair trial, Hoffman would dismiss him, and even had him bound and gagged in the courtroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it could also potentially be argued that Bobby Seale goaded the judge into silencing him in that violent way,” Yahya Abdul-Mateen II, who plays Seale in the film, told NPR’s \u003cem>All Things Considered\u003c/em>. “And that was a powerful move by Bobby Seale by outsmarting the judge, by outsmarting his oppressor, and he did it by speaking out in court, by being disruptive, by demanding justice, by demanding the rights that are afforded to him through the Constitution. And I think there’s a lesson to be learned about that, about one being educated about your own circumstances, being educated about the law, but then also the follow up is when you have the courage to stand up and speak through your conviction.”\u003c/p>\n\u003cp>Abdul-Mateen II told NPR’s Michel Martin about the connection between the film and the current fight for racial justice, and the weight of portraying such an important figure in U.S. history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FVb6EdKDBfU\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On playing Bobby Seale\u003c/strong>\u003c/p>\n\u003cp>It began to take on more meaning for me once I went and I looked up interviews of Bobby Seale. I really learned or started to get an idea for the dignity that this man had and about how he was robbed of his dignity during that trial. And I wanted to do two things with this role: I wanted to represent for Oakland [where Abdul-Mateen II grew up and where the Black Panthers were founded] and I wanted to advocate for Bobby Seale and for his experience, the experience that he had in this trial. And I knew that if I could step into those shoes and if I could go through that humiliation, that brutalization as Bobby Seale would call it. And if I could go through that and portray a victory, as opposed to a defeat, then I felt like I would be doing a good job.\u003c/p>\n\u003cp>\u003cstrong>On filming the scene in which Seale is bound and gagged\u003c/strong>\u003c/p>\n\u003cp>I think the best piece of information that I got from researching him was a quote when he was in prison during this case and he says when you’re a revolutionary, they can’t break your spirit. And he also knew that whatever they threw at him would be the worst thing that they could imagine. So, he talks about having the type of psychology where you understand your oppressor to the degree that whatever they throw at you, you have to understand that they’re only doing the things that they’re afraid to have done to them, so that when you persevere through that, it makes them afraid, and they stand back in amazement at how you’re able to withstand something that they could never be able to put themselves through. [aside postid='arts_10991338']\u003c/p>\n\u003cp>So, I tried to really arm myself with the idea that as a Black man, as a representative of myself, my people, my manhood, my dignity, that I would protect those things at all costs. And I wouldn’t allow someone else to dehumanize me. They may inflict pain or harm upon my body, but they won’t be able to take my humanity.\u003c/p>\n\u003cp>\u003cstrong>On the importance of allyship\u003c/strong>\u003c/p>\n\u003cp>I think if you look at 1968 and you look at right now, even if you look at what’s going on over in Nigeria right now, it’s police overstepping their boundaries and it’s gross to the level that no one can ignore it. There’s a refrain in the film that says the “whole world is watching.” And I think that’s one of the things that is causing all of the allies to come out now. And I think allyship is very important. I think everybody has a role in the revolution, so to speak.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think when it comes to allyship, it’s very, very important to understand that if you want a role in the movement, then that’s not going to always look the same. Just speaking of allyship and bringing it back to the film, Sacha [Baron-Cohen, who plays activist Abbie Hoffman] was one of my biggest allies on the movie. During the moments where I had to go into the back and reenact the bound and gagged scene. He didn’t have to, but he came in the back, just being there, being supportive, saying, “Hey, do you need anything? Is that too tight? Are you comfortable? You don’t have to do this if you don’t want to. If you don’t want to do another take, make sure that you speak up. If you’re not comfortable speaking up, I’ll do it for you.” That’s a certain type of allyship that’s equally important as being out there on the front lines saying Black Lives Matter.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yahya+Abdul-Mateen+II+On+Playing+Bobby+Seale+In+%27The+Trial+Of+The+Chicago+7%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it could also potentially be argued that Bobby Seale goaded the judge into silencing him in that violent way,” Yahya Abdul-Mateen II, who plays Seale in the film, told NPR’s \u003cem>All Things Considered\u003c/em>. “And that was a powerful move by Bobby Seale by outsmarting the judge, by outsmarting his oppressor, and he did it by speaking out in court, by being disruptive, by demanding justice, by demanding the rights that are afforded to him through the Constitution. And I think there’s a lesson to be learned about that, about one being educated about your own circumstances, being educated about the law, but then also the follow up is when you have the courage to stand up and speak through your conviction.”\u003c/p>\n\u003cp>Abdul-Mateen II told NPR’s Michel Martin about the connection between the film and the current fight for racial justice, and the weight of portraying such an important figure in U.S. history.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FVb6EdKDBfU'\n title='//www.youtube.com/embed/FVb6EdKDBfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On playing Bobby Seale\u003c/strong>\u003c/p>\n\u003cp>It began to take on more meaning for me once I went and I looked up interviews of Bobby Seale. I really learned or started to get an idea for the dignity that this man had and about how he was robbed of his dignity during that trial. And I wanted to do two things with this role: I wanted to represent for Oakland [where Abdul-Mateen II grew up and where the Black Panthers were founded] and I wanted to advocate for Bobby Seale and for his experience, the experience that he had in this trial. And I knew that if I could step into those shoes and if I could go through that humiliation, that brutalization as Bobby Seale would call it. And if I could go through that and portray a victory, as opposed to a defeat, then I felt like I would be doing a good job.\u003c/p>\n\u003cp>\u003cstrong>On filming the scene in which Seale is bound and gagged\u003c/strong>\u003c/p>\n\u003cp>I think the best piece of information that I got from researching him was a quote when he was in prison during this case and he says when you’re a revolutionary, they can’t break your spirit. And he also knew that whatever they threw at him would be the worst thing that they could imagine. So, he talks about having the type of psychology where you understand your oppressor to the degree that whatever they throw at you, you have to understand that they’re only doing the things that they’re afraid to have done to them, so that when you persevere through that, it makes them afraid, and they stand back in amazement at how you’re able to withstand something that they could never be able to put themselves through. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, I tried to really arm myself with the idea that as a Black man, as a representative of myself, my people, my manhood, my dignity, that I would protect those things at all costs. And I wouldn’t allow someone else to dehumanize me. They may inflict pain or harm upon my body, but they won’t be able to take my humanity.\u003c/p>\n\u003cp>\u003cstrong>On the importance of allyship\u003c/strong>\u003c/p>\n\u003cp>I think if you look at 1968 and you look at right now, even if you look at what’s going on over in Nigeria right now, it’s police overstepping their boundaries and it’s gross to the level that no one can ignore it. There’s a refrain in the film that says the “whole world is watching.” And I think that’s one of the things that is causing all of the allies to come out now. And I think allyship is very important. I think everybody has a role in the revolution, so to speak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think when it comes to allyship, it’s very, very important to understand that if you want a role in the movement, then that’s not going to always look the same. Just speaking of allyship and bringing it back to the film, Sacha [Baron-Cohen, who plays activist Abbie Hoffman] was one of my biggest allies on the movie. During the moments where I had to go into the back and reenact the bound and gagged scene. He didn’t have to, but he came in the back, just being there, being supportive, saying, “Hey, do you need anything? Is that too tight? Are you comfortable? You don’t have to do this if you don’t want to. If you don’t want to do another take, make sure that you speak up. If you’re not comfortable speaking up, I’ll do it for you.” That’s a certain type of allyship that’s equally important as being out there on the front lines saying Black Lives Matter.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yahya+Abdul-Mateen+II+On+Playing+Bobby+Seale+In+%27The+Trial+Of+The+Chicago+7%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Huey Newton Was Freed 50 Years Ago. What's Really Changed?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Black Panther Party co-founder Huey P. Newton was released from Oakland’s Alameda County Courthouse 50 years ago, on Aug. 5, 1970, he scaled the top of a car and looked out to the crowd of people gathered in support.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" target=\"_blank\" rel=\"noopener noreferrer\">Footage\u003c/a> shows all eyes on Newton. He’d \u003ca href=\"https://www.rollingstone.com/culture/culture-news/huey-newton-twenty-five-floors-from-the-street-176820/\">later tell \u003cem>Rolling Stone\u003c/em>\u003c/a> that taking off his prison-issue shirt wasn’t necessarily intended to be a symbolic gesture; it was just the consequence of it being a hot day in August. Nevertheless, Newton stood atop the automobile, shirtless, arm muscles big enough to lift the courthouse he just walked out of, as he addressed the crowd. News cameras rolled as he told those within earshot his soft-spoken words: “You have the power, and the power is with the people.”\u003c/p>\n\u003cp>Last month, on Sunday, July 26, I drove two circles around the Alameda County Courthouse to observe the damage from the night before. The windows were busted, the walls of the joint were tattooed with anti-police graffiti, and burn marks remained from a fire started just inside of the building’s main entry (it was extinguished before causing any major damage). The damage occurred after a protest spearheaded by a group of people said to be in solidarity with the Black Lives Matter protests in Portland, Oregon. The people who actually vandalized the courthouse, and those who did a number on the federal building and Oakland Police headquarters nearby, remain unidentified.\u003c/p>\n\u003cp>I took a picture of the courthouse that Sunday morning and posted it on social media. Many responses hypothesized about the people who did the damage, where they were from, and what their intentions were. Journalist Rasheed Shabazz responded by wondering: where’s the “Free Huey” message?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>50 years after Huey was freed, that same courthouse is one of the many battlegrounds in the current fight for liberation and justice—but is it the \u003cem>same \u003c/em>fight?\u003c/p>\n\u003cfigure id=\"attachment_13884382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg\" alt=\"The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1536x1117.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1920x1397.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse.jpg 2047w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters the night before. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>round 5am on Oct. 28, 1967, Huey P. Newton was driving a Volkswagen with passenger Gene McKinney when he hit the corner of 7th and Willow Street in West Oakland, \u003ca href=\"https://law.justia.com/cases/california/court-of-appeal/3d/8/359.html\" target=\"_blank\" rel=\"noopener noreferrer\">according to court documents\u003c/a>. That’s where he was pulled over by Oakland Police Officer John Frey; the officer called for backup immediately, which brought Officer Herbert Heanes to the scene.\u003c/p>\n\u003cp>From there, the details get sketchy. There’s a story of Newton being asked to exit his car, and him doing so, law book in hand. There’s a report that Officer Frey might’ve called Newton a derogatory term after telling Newton where he could shove that law book. From all accounts I’ve read, commotion ensued from that point. Shots were fired and Newton was hit in the abdomen. Both officers were hit multiple times. Officer Frey died from his wounds. Officer Heanes survived.\u003c/p>\n\u003cp>The only fired rounds of ammunition retrieved from the scene were police-issued.\u003c/p>\n\u003cp>Huey, reportedly in and out of consciousness, ended up at Kaiser hospital, where he was simultaneously arrested and treated for his wounds. Photos show him \u003ca href=\"https://www.blackresearchcentral.com/uploads/4/1/3/7/4137870/733529614-huey-p-newton-handcuffed-to-hospital-bed-after-killing-cop_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">handcuffed to a medical bed\u003c/a>.\u003c/p>\n\u003cp>In 1968, Newton went to trial and was found guilty of manslaughter. His attorney, Charles Garry, brought the case to the California Courts of Appeal. In May of 1970, it was found that the judge in the first trial held back relevant information to the jury—namely, that Newton’s contention that he was unconscious at the time Officer Frey was shot constituted a complete defense of manslaughter.\u003c/p>\n\u003cp>Police brutality, shoddy evidence and a court system failing to do its job. Similar circumstances exist nowadays.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The killing of George Floyd, during which multiple officers not only abused their power but also failed to check their coworker, showed that it’s not just about one bad cop. The death of Breonna Taylor, in which officers abused their power \u003cem>and\u003c/em> those in higher office have failed to bring justice, proves that the issues go beyond the officers patrolling the streets.\u003c/p>\n\u003cp>And here in the Bay Area, there’s a long list of similar evidence: you can see recent examples in the California Highway Patrol withholding details in the killing of \u003ca href=\"https://twitter.com/DarwinBondGraha/status/1289363881836425217?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Erik Salgado\u003c/a> in East Oakland, and the Vallejo Police Department \u003ca href=\"https://www.kqed.org/forum/2010101878756/destruction-of-evidence-in-vallejo-police-shooting-spurs-calls-for-federal-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">destroying evidence\u003c/a> in the killing of Sean Monterrosa.\u003c/p>\n\u003cfigure id=\"attachment_13884376\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/FredHamptonGrave-800x1055.jpg\" alt=\"The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA.\" width=\"600\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA. \u003ccite>(Courtesy \u003ca href=\"https://www.instagram.com/rasceylon/?hl=en\" target=\"_blank\">Ras Ceylon\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he larger context of Huey P. Newton’s arrest was an all-out war waged on the Black Panther Party, Black Nationalists and Communists, concentrated in the counterintelligence program (\u003ca href=\"https://vault.fbi.gov/cointel-pro\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>), which was spearheaded by former FBI Director J. Edgar Hoover.\u003c/p>\n\u003cp>This led to the spread of misinformation and the insurgence of agent provocateurs in numerous groups. It also led to the incarceration of numerous Black Panther members and the killings of Black Panther leaders Mark Clark and Fred Hampton, Sr.\u003c/p>\n\u003cp>It’s a stretch to say that unmarked federal agents at protests in Portland and New York are any comparison to the FBI’s massive effort to stop the rise of a singular “Black Messiah,” one of the \u003ca href=\"https://herb.ashp.cuny.edu/items/show/814\" target=\"_blank\" rel=\"noopener noreferrer\">goals of COINTELPRO\u003c/a>. But there’s something eerily similar about the federal government turning on its own people for the act of holding the government accountable.\u003c/p>\n\u003cp>Footage of the federal troops in Portland shocked many, but realistically, it was a natural result of years of heightened state oppression. In 1970, when Newton was released after serving over two years at the California Men’s Colony in San Luis Obispo, California’s prison population was 25,033. It would decline to 16,970 in 1972 before skyrocketing over the next four decades.\u003c/p>\n\u003cp>Over-policing, over-sentencing, “three strikes” laws, the cocaine/crack disparity and mandatory minimums, combined with the demonization of African American youth in the media (see: “\u003ca href=\"https://www.youtube.com/watch?v=mZ4Z-803JZE\" target=\"_blank\" rel=\"noopener noreferrer\">superpredators\u003c/a>“), all made for a prolonged prison boom.\u003c/p>\n\u003cp>For years, the conditions of California’s jails, prisons, juvenile detention centers and ICE facilities have been somewhere between poor and uninhabitable. They have seen prison strikes, riots, and numerous deaths. In 2011, \u003ca href=\"https://www.supremecourt.gov/opinions/10pdf/09-1233.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">the Supreme Court ruled\u003c/a> that the health conditions at California’s prisons constituted a violation of prisoners’ Eighth Amendment rights protecting them from cruel and unusual punishment. The state was ordered to cut its prison population down from a high of over 160,000 to 110,000, or 137.5% of its capacity.\u003c/p>\n\u003cp>A decade later, after numerous legislative changes, a process called “\u003ca href=\"https://www.propublica.org/article/guide-to-california-prisons\" target=\"_blank\" rel=\"noopener noreferrer\">realignment\u003c/a>,” and expedited releases in effort to stop the spread of COVID-19, just last month the overall prison population dropped below 100,000 for the first time in three decades. As of last week, \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2020/07/Tpop1d200729.pdf\">California’s prison population is at 114%\u003c/a> of its capacity—meaning that although it’s finally well below federal guidelines, there are still more people behind bars than they were designed to hold.\u003c/p>\n\u003cp>Because of that, this past weekend a group by the name \u003ca href=\"https://www.instagram.com/nojusticeundercapitalism/\" target=\"_blank\" rel=\"noopener noreferrer\">No Justice Under Capitalism\u003c/a> helped to organize protests at San Quentin, where inside the facility about 1/3 of the population has reportedly contracted COVID, and \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">over 22 people have died\u003c/a> from the virus. Also, last week, demonstrators gathered in front of Governor Gavin Newsom’s house to protest conditions faced by people in California’s prisons and ICE custody. The 14 protestors \u003ca href=\"https://ciyja.org/wp-content/uploads/2020/07/FreeThemAll14.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">were then arrested\u003c/a>, and experienced the conditions firsthand.\u003c/p>\n\u003cfigure id=\"attachment_13884375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg\" alt=\"Huey P. Newton and Billy X, archivist for the Black Panther Party, together in the 1980s.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huey P. Newton with Billy X, archivist for the Black Panther Party. \u003ccite>(Courtesy Billy X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he graffiti on the courthouse that Sunday morning in July was markedly different than everything else that’s adorned the walls of downtown Oakland over the past few months. Earlier this summer, in response to threats of vandalism, businesses covered their windows with plywood, providing the perfect canvas for artists to express themselves. In the \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener noreferrer\">open-air art gallery\u003c/a> were raised painted images of Black fists, the names of those slain by police officers, and a mural or two bearing the Black Panther logo.\u003c/p>\n\u003cp>Although Oakland has no permanent monument dedicated to the Black Panther Party, the ideals the party stood for are alive today. They’re shown through the city’s arts and culture, if nowhere else.\u003c/p>\n\u003cp>A plaque on 55th and Market, dedicated to the Black Panthers’ efforts to establish a crossing light for schoolchildren at the former site of Santa Fe Elementary School. A portion of DeFremery Park officially dedicated to Lil Bobby Hutton, the first and youngest Black Panther to be killed by the police.\u003c/p>\n\u003cp>There are multiple murals around the town honoring the Panthers’ legacy, many of them done by artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Refa-1\u003c/a>. And with guidance from Black Panther leader Ericka Huggins, \u003ca href=\"https://www.kickstarter.com/projects/jilchristinavest/mural-the-women-of-the-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Jilchristina Vest\u003c/a> is developing a mural in West Oakland dedicated to the women of the party.\u003c/p>\n\u003cp>Last month, council member Lynette McElhaney introduced a resolution to rename 9th Street between Center Street and Chester Street—the place where Newton was shot and killed in 1989—as “Dr. Huey P. Newton Way.”\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/about-the-foundation\" target=\"_blank\" rel=\"noopener noreferrer\">The Dr. Huey P. Newton Foundation\u003c/a>, with the support of Huey’s widow Fredrika Newton, is currently pushing for a permanent monument honoring Huey in front of the courthouse, among other things.\u003c/p>\n\u003cp>And the Oakland Museum of California is currently remodeling its building and creating an entrance/exit not too far from the proposed monument site. The OMCA knows the impact of the Panthers’ legacy: their 50th anniversary exhibition dedicated to the Party attracted the highest number of attendees in the museum’s history.\u003c/p>\n\u003cfigure id=\"attachment_12278228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12278228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/13th_01-800x450.jpg\" alt=\"Angela Davis speaks inside West Oakland's abandoned 16th Street train station, in a still from Ava DuVernay's '13th.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks inside West Oakland’s abandoned 16th Street train station, in a still from Ava DuVernay’s ’13th.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ertain things today are clear connections to the past. Dr. Angela Davis continues to appear at both \u003ca href=\"https://twitter.com/CalEndow/status/1276183690289258497\" target=\"_blank\" rel=\"noopener noreferrer\">protests\u003c/a> and \u003ca href=\"https://twitter.com/ShelleDione/status/998622334717124609\" target=\"_blank\" rel=\"noopener noreferrer\">gatherings of Black joy\u003c/a>. There are former Panthers, like \u003ca href=\"https://www.theguardian.com/commentisfree/2020/jun/01/jalil-muntaqim-former-black-panther-covid-19-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Jalil Muntaqim\u003c/a>, who are still incarcerated.\u003c/p>\n\u003cp>Ericka Huggins is still active, working in education. Joan Tarika Lewis is using social media to remain engaged in arts, culture and politics. Fred Hampton Jr. is pushing to \u003ca href=\"https://southsideweekly.com/bigger-than-a-building-hampton-home/\" target=\"_blank\" rel=\"noopener noreferrer\">preserve his father’s childhood house\u003c/a> in Chicago. And Black Panther archivist Billy X Jennings tells me he would’ve helped organize a celebration in honor of Dr. Huey P. Newton today if it weren’t for precautions around large gatherings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, radio host and author of \u003cem>Party Music\u003c/em>, a book about the Black Panther Party’s house band \u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener noreferrer\">The Lumpen\u003c/a>, told me he’s noticed a few drastic differences between the two eras of protest. For starters, there is no clear leader of this current movement, no “Black Messiah,” for better or for worse. And secondly, while Newton himself advocated for \u003ca href=\"https://www.youtube.com/watch?time_continue=5&v=W3ZV9ingN7g&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">freeing all political prisoners\u003c/a>, there is no clear end goal, as there was with the Free Huey movement.\u003c/p>\n\u003cp>At this point, the phrase “Black Lives Matter” has lost whatever teeth it had to start with. Calls to defund the police, while attention-grabbing, remain a nuanced goal, with room for contention. Still, clear end goals exist with specific actionable demands that everyday people can understand, like instructions to \u003ca href=\"https://www.rollingstone.com/culture/culture-news/breonna-taylor-demand-justice-1015060/\" target=\"_blank\" rel=\"noopener noreferrer\">call the District Attorney’s office and demand justice for Breonna Taylor\u003c/a>—that’s where actual change comes from.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What if we focused the next 50 years on specific actionable items to change the justice and prison systems? Now \u003cem>that’d\u003c/em> be a monumental change to the function of the Alameda County Courthouse. And it’d honor Huey P. Newton and the Black Panther Party in the best way possible—to truly bring the power to the people.\u003c/p>\n\n",
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"title": "Huey Newton Was Freed 50 Years Ago. What's Really Changed? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Black Panther Party co-founder Huey P. Newton was released from Oakland’s Alameda County Courthouse 50 years ago, on Aug. 5, 1970, he scaled the top of a car and looked out to the crowd of people gathered in support.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" target=\"_blank\" rel=\"noopener noreferrer\">Footage\u003c/a> shows all eyes on Newton. He’d \u003ca href=\"https://www.rollingstone.com/culture/culture-news/huey-newton-twenty-five-floors-from-the-street-176820/\">later tell \u003cem>Rolling Stone\u003c/em>\u003c/a> that taking off his prison-issue shirt wasn’t necessarily intended to be a symbolic gesture; it was just the consequence of it being a hot day in August. Nevertheless, Newton stood atop the automobile, shirtless, arm muscles big enough to lift the courthouse he just walked out of, as he addressed the crowd. News cameras rolled as he told those within earshot his soft-spoken words: “You have the power, and the power is with the people.”\u003c/p>\n\u003cp>Last month, on Sunday, July 26, I drove two circles around the Alameda County Courthouse to observe the damage from the night before. The windows were busted, the walls of the joint were tattooed with anti-police graffiti, and burn marks remained from a fire started just inside of the building’s main entry (it was extinguished before causing any major damage). The damage occurred after a protest spearheaded by a group of people said to be in solidarity with the Black Lives Matter protests in Portland, Oregon. The people who actually vandalized the courthouse, and those who did a number on the federal building and Oakland Police headquarters nearby, remain unidentified.\u003c/p>\n\u003cp>I took a picture of the courthouse that Sunday morning and posted it on social media. Many responses hypothesized about the people who did the damage, where they were from, and what their intentions were. Journalist Rasheed Shabazz responded by wondering: where’s the “Free Huey” message?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50 years after Huey was freed, that same courthouse is one of the many battlegrounds in the current fight for liberation and justice—but is it the \u003cem>same \u003c/em>fight?\u003c/p>\n\u003cfigure id=\"attachment_13884382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg\" alt=\"The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1536x1117.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse-1920x1397.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/AlamedaCountyCourthouse.jpg 2047w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Alameda County Courthouse on July 26, 2020, after being spray-painted and torched by protesters the night before. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>round 5am on Oct. 28, 1967, Huey P. Newton was driving a Volkswagen with passenger Gene McKinney when he hit the corner of 7th and Willow Street in West Oakland, \u003ca href=\"https://law.justia.com/cases/california/court-of-appeal/3d/8/359.html\" target=\"_blank\" rel=\"noopener noreferrer\">according to court documents\u003c/a>. That’s where he was pulled over by Oakland Police Officer John Frey; the officer called for backup immediately, which brought Officer Herbert Heanes to the scene.\u003c/p>\n\u003cp>From there, the details get sketchy. There’s a story of Newton being asked to exit his car, and him doing so, law book in hand. There’s a report that Officer Frey might’ve called Newton a derogatory term after telling Newton where he could shove that law book. From all accounts I’ve read, commotion ensued from that point. Shots were fired and Newton was hit in the abdomen. Both officers were hit multiple times. Officer Frey died from his wounds. Officer Heanes survived.\u003c/p>\n\u003cp>The only fired rounds of ammunition retrieved from the scene were police-issued.\u003c/p>\n\u003cp>Huey, reportedly in and out of consciousness, ended up at Kaiser hospital, where he was simultaneously arrested and treated for his wounds. Photos show him \u003ca href=\"https://www.blackresearchcentral.com/uploads/4/1/3/7/4137870/733529614-huey-p-newton-handcuffed-to-hospital-bed-after-killing-cop_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">handcuffed to a medical bed\u003c/a>.\u003c/p>\n\u003cp>In 1968, Newton went to trial and was found guilty of manslaughter. His attorney, Charles Garry, brought the case to the California Courts of Appeal. In May of 1970, it was found that the judge in the first trial held back relevant information to the jury—namely, that Newton’s contention that he was unconscious at the time Officer Frey was shot constituted a complete defense of manslaughter.\u003c/p>\n\u003cp>Police brutality, shoddy evidence and a court system failing to do its job. Similar circumstances exist nowadays.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189469\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The killing of George Floyd, during which multiple officers not only abused their power but also failed to check their coworker, showed that it’s not just about one bad cop. The death of Breonna Taylor, in which officers abused their power \u003cem>and\u003c/em> those in higher office have failed to bring justice, proves that the issues go beyond the officers patrolling the streets.\u003c/p>\n\u003cp>And here in the Bay Area, there’s a long list of similar evidence: you can see recent examples in the California Highway Patrol withholding details in the killing of \u003ca href=\"https://twitter.com/DarwinBondGraha/status/1289363881836425217?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Erik Salgado\u003c/a> in East Oakland, and the Vallejo Police Department \u003ca href=\"https://www.kqed.org/forum/2010101878756/destruction-of-evidence-in-vallejo-police-shooting-spurs-calls-for-federal-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">destroying evidence\u003c/a> in the killing of Sean Monterrosa.\u003c/p>\n\u003cfigure id=\"attachment_13884376\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/FredHamptonGrave-800x1055.jpg\" alt=\"The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA.\" width=\"600\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">The tombstone of Black Panther Party Chairman Fred Hampton, Sr., which is shot up annually by officers in Haynesville, LA. \u003ccite>(Courtesy \u003ca href=\"https://www.instagram.com/rasceylon/?hl=en\" target=\"_blank\">Ras Ceylon\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he larger context of Huey P. Newton’s arrest was an all-out war waged on the Black Panther Party, Black Nationalists and Communists, concentrated in the counterintelligence program (\u003ca href=\"https://vault.fbi.gov/cointel-pro\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>), which was spearheaded by former FBI Director J. Edgar Hoover.\u003c/p>\n\u003cp>This led to the spread of misinformation and the insurgence of agent provocateurs in numerous groups. It also led to the incarceration of numerous Black Panther members and the killings of Black Panther leaders Mark Clark and Fred Hampton, Sr.\u003c/p>\n\u003cp>It’s a stretch to say that unmarked federal agents at protests in Portland and New York are any comparison to the FBI’s massive effort to stop the rise of a singular “Black Messiah,” one of the \u003ca href=\"https://herb.ashp.cuny.edu/items/show/814\" target=\"_blank\" rel=\"noopener noreferrer\">goals of COINTELPRO\u003c/a>. But there’s something eerily similar about the federal government turning on its own people for the act of holding the government accountable.\u003c/p>\n\u003cp>Footage of the federal troops in Portland shocked many, but realistically, it was a natural result of years of heightened state oppression. In 1970, when Newton was released after serving over two years at the California Men’s Colony in San Luis Obispo, California’s prison population was 25,033. It would decline to 16,970 in 1972 before skyrocketing over the next four decades.\u003c/p>\n\u003cp>Over-policing, over-sentencing, “three strikes” laws, the cocaine/crack disparity and mandatory minimums, combined with the demonization of African American youth in the media (see: “\u003ca href=\"https://www.youtube.com/watch?v=mZ4Z-803JZE\" target=\"_blank\" rel=\"noopener noreferrer\">superpredators\u003c/a>“), all made for a prolonged prison boom.\u003c/p>\n\u003cp>For years, the conditions of California’s jails, prisons, juvenile detention centers and ICE facilities have been somewhere between poor and uninhabitable. They have seen prison strikes, riots, and numerous deaths. In 2011, \u003ca href=\"https://www.supremecourt.gov/opinions/10pdf/09-1233.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">the Supreme Court ruled\u003c/a> that the health conditions at California’s prisons constituted a violation of prisoners’ Eighth Amendment rights protecting them from cruel and unusual punishment. The state was ordered to cut its prison population down from a high of over 160,000 to 110,000, or 137.5% of its capacity.\u003c/p>\n\u003cp>A decade later, after numerous legislative changes, a process called “\u003ca href=\"https://www.propublica.org/article/guide-to-california-prisons\" target=\"_blank\" rel=\"noopener noreferrer\">realignment\u003c/a>,” and expedited releases in effort to stop the spread of COVID-19, just last month the overall prison population dropped below 100,000 for the first time in three decades. As of last week, \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2020/07/Tpop1d200729.pdf\">California’s prison population is at 114%\u003c/a> of its capacity—meaning that although it’s finally well below federal guidelines, there are still more people behind bars than they were designed to hold.\u003c/p>\n\u003cp>Because of that, this past weekend a group by the name \u003ca href=\"https://www.instagram.com/nojusticeundercapitalism/\" target=\"_blank\" rel=\"noopener noreferrer\">No Justice Under Capitalism\u003c/a> helped to organize protests at San Quentin, where inside the facility about 1/3 of the population has reportedly contracted COVID, and \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">over 22 people have died\u003c/a> from the virus. Also, last week, demonstrators gathered in front of Governor Gavin Newsom’s house to protest conditions faced by people in California’s prisons and ICE custody. The 14 protestors \u003ca href=\"https://ciyja.org/wp-content/uploads/2020/07/FreeThemAll14.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">were then arrested\u003c/a>, and experienced the conditions firsthand.\u003c/p>\n\u003cfigure id=\"attachment_13884375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg\" alt=\"Huey P. Newton and Billy X, archivist for the Black Panther Party, together in the 1980s.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HueyNewton.BillyX.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huey P. Newton with Billy X, archivist for the Black Panther Party. \u003ccite>(Courtesy Billy X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he graffiti on the courthouse that Sunday morning in July was markedly different than everything else that’s adorned the walls of downtown Oakland over the past few months. Earlier this summer, in response to threats of vandalism, businesses covered their windows with plywood, providing the perfect canvas for artists to express themselves. In the \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener noreferrer\">open-air art gallery\u003c/a> were raised painted images of Black fists, the names of those slain by police officers, and a mural or two bearing the Black Panther logo.\u003c/p>\n\u003cp>Although Oakland has no permanent monument dedicated to the Black Panther Party, the ideals the party stood for are alive today. They’re shown through the city’s arts and culture, if nowhere else.\u003c/p>\n\u003cp>A plaque on 55th and Market, dedicated to the Black Panthers’ efforts to establish a crossing light for schoolchildren at the former site of Santa Fe Elementary School. A portion of DeFremery Park officially dedicated to Lil Bobby Hutton, the first and youngest Black Panther to be killed by the police.\u003c/p>\n\u003cp>There are multiple murals around the town honoring the Panthers’ legacy, many of them done by artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Refa-1\u003c/a>. And with guidance from Black Panther leader Ericka Huggins, \u003ca href=\"https://www.kickstarter.com/projects/jilchristinavest/mural-the-women-of-the-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Jilchristina Vest\u003c/a> is developing a mural in West Oakland dedicated to the women of the party.\u003c/p>\n\u003cp>Last month, council member Lynette McElhaney introduced a resolution to rename 9th Street between Center Street and Chester Street—the place where Newton was shot and killed in 1989—as “Dr. Huey P. Newton Way.”\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/about-the-foundation\" target=\"_blank\" rel=\"noopener noreferrer\">The Dr. Huey P. Newton Foundation\u003c/a>, with the support of Huey’s widow Fredrika Newton, is currently pushing for a permanent monument honoring Huey in front of the courthouse, among other things.\u003c/p>\n\u003cp>And the Oakland Museum of California is currently remodeling its building and creating an entrance/exit not too far from the proposed monument site. The OMCA knows the impact of the Panthers’ legacy: their 50th anniversary exhibition dedicated to the Party attracted the highest number of attendees in the museum’s history.\u003c/p>\n\u003cfigure id=\"attachment_12278228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12278228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/13th_01-800x450.jpg\" alt=\"Angela Davis speaks inside West Oakland's abandoned 16th Street train station, in a still from Ava DuVernay's '13th.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks inside West Oakland’s abandoned 16th Street train station, in a still from Ava DuVernay’s ’13th.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ertain things today are clear connections to the past. Dr. Angela Davis continues to appear at both \u003ca href=\"https://twitter.com/CalEndow/status/1276183690289258497\" target=\"_blank\" rel=\"noopener noreferrer\">protests\u003c/a> and \u003ca href=\"https://twitter.com/ShelleDione/status/998622334717124609\" target=\"_blank\" rel=\"noopener noreferrer\">gatherings of Black joy\u003c/a>. There are former Panthers, like \u003ca href=\"https://www.theguardian.com/commentisfree/2020/jun/01/jalil-muntaqim-former-black-panther-covid-19-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Jalil Muntaqim\u003c/a>, who are still incarcerated.\u003c/p>\n\u003cp>Ericka Huggins is still active, working in education. Joan Tarika Lewis is using social media to remain engaged in arts, culture and politics. Fred Hampton Jr. is pushing to \u003ca href=\"https://southsideweekly.com/bigger-than-a-building-hampton-home/\" target=\"_blank\" rel=\"noopener noreferrer\">preserve his father’s childhood house\u003c/a> in Chicago. And Black Panther archivist Billy X Jennings tells me he would’ve helped organize a celebration in honor of Dr. Huey P. Newton today if it weren’t for precautions around large gatherings.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, radio host and author of \u003cem>Party Music\u003c/em>, a book about the Black Panther Party’s house band \u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener noreferrer\">The Lumpen\u003c/a>, told me he’s noticed a few drastic differences between the two eras of protest. For starters, there is no clear leader of this current movement, no “Black Messiah,” for better or for worse. And secondly, while Newton himself advocated for \u003ca href=\"https://www.youtube.com/watch?time_continue=5&v=W3ZV9ingN7g&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">freeing all political prisoners\u003c/a>, there is no clear end goal, as there was with the Free Huey movement.\u003c/p>\n\u003cp>At this point, the phrase “Black Lives Matter” has lost whatever teeth it had to start with. Calls to defund the police, while attention-grabbing, remain a nuanced goal, with room for contention. Still, clear end goals exist with specific actionable demands that everyday people can understand, like instructions to \u003ca href=\"https://www.rollingstone.com/culture/culture-news/breonna-taylor-demand-justice-1015060/\" target=\"_blank\" rel=\"noopener noreferrer\">call the District Attorney’s office and demand justice for Breonna Taylor\u003c/a>—that’s where actual change comes from.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What if we focused the next 50 years on specific actionable items to change the justice and prison systems? Now \u003cem>that’d\u003c/em> be a monumental change to the function of the Alameda County Courthouse. And it’d honor Huey P. Newton and the Black Panther Party in the best way possible—to truly bring the power to the people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While Black Panther Party co-founder Huey P. Newton sat in jail on his birthday in 1968, H. Rap Brown and Stokely Carmichael addressed a giant crowd at the Oakland Civic Auditorium in an event known today as the Huey P. Newton Birthday Rally. The day’s events received widespread attention, and catalyzed the “Free Huey” movement.\u003c/p>\n\u003cp>With 5,000 people in attendance, Brown and Carmichael spoke passionately on Newton’s work, the need for black empowerment, the Vietnam war, and the responsibility of the black community to see through a veil of false comfort from white leaders at the height of the civil rights era. \u003c/p>\n\u003cp>As Carmichael says in the clip: “We have to recognize who our major enemy is! The major enemy is not your brother, flesh of your flesh, blood of your blood. The major enemy is the honkey and his institutions of racism! That is the major enemy! That is the major enemy!”\u003c/p>\n\u003cp>Even more pointed were H. Rap Brown’s comments: “A lot of you runnin’ around talkin’ ‘bout you Democrats, and the Democrats got you in the biggest trick goin’—they tell you ‘It ain’t our fault, its the Dixiecrats!’ No such thing as a Dixiecrat! The only difference between George Wallace and Lyndon Johnson is one of ‘em’s wife’s got cancer!” \u003c/p>\n\u003cp>\u003cstrong>KQED recently unearthed this special footage from the KQED archives\u003c/strong>. Watch select moments from their speeches above. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Black Panther Party co-founder Huey P. Newton sat in jail on his birthday in 1968, H. Rap Brown and Stokely Carmichael addressed a giant crowd at the Oakland Civic Auditorium in an event known today as the Huey P. Newton Birthday Rally. The day’s events received widespread attention, and catalyzed the “Free Huey” movement.\u003c/p>\n\u003cp>With 5,000 people in attendance, Brown and Carmichael spoke passionately on Newton’s work, the need for black empowerment, the Vietnam war, and the responsibility of the black community to see through a veil of false comfort from white leaders at the height of the civil rights era. \u003c/p>\n\u003cp>As Carmichael says in the clip: “We have to recognize who our major enemy is! The major enemy is not your brother, flesh of your flesh, blood of your blood. The major enemy is the honkey and his institutions of racism! That is the major enemy! That is the major enemy!”\u003c/p>\n\u003cp>Even more pointed were H. Rap Brown’s comments: “A lot of you runnin’ around talkin’ ‘bout you Democrats, and the Democrats got you in the biggest trick goin’—they tell you ‘It ain’t our fault, its the Dixiecrats!’ No such thing as a Dixiecrat! The only difference between George Wallace and Lyndon Johnson is one of ‘em’s wife’s got cancer!” \u003c/p>\n\u003cp>\u003cstrong>KQED recently unearthed this special footage from the KQED archives\u003c/strong>. Watch select moments from their speeches above. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"excerpt": "A mural in Oakland of the actor and rapper together was painted over in a matter of days—and it turns out there's a reason.",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"headline": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history",
"title": "Claiming Community Walls for the Black Panther Party",
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"content": "\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Pendarvis Harshaw's 'Rightnowish' kicks off with Oakland muralist and culture keeper Refa One.",
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"title": "Claiming Community Walls for the Black Panther Party | KQED",
"description": "Pendarvis Harshaw's 'Rightnowish' kicks off with Oakland muralist and culture keeper Refa One.",
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"headline": "Claiming Community Walls for the Black Panther Party",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n",
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"headline": "The Black Panther Party's Free Breakfast Program: A 50-Year-Old Blueprint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rare-footage-of-black-panthers-california-activism-digitized-by-oakland-library",
"title": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library",
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"content": "\u003cp>Farmworkers harvesting onions. Picketing Teamsters rejecting student sympathizers. Oakland high-schoolers protesting the police shooting their peer. Black Panthers serving breakfast.\u003c/p>\n\u003cp>They’re just a few scenes from a newly digitized \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\">African American Museum & Library Oakland\u003c/a> collection of scarcely if ever seen footage documenting California activism and organized labor in the 1960s and 1970s. AAMLO, a reference library and exhibition space, last year received a grant to catalog and transfer the films. Now nearly seven hours of footage is freely available \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22\">online\u003c/a>.\u003c/p>\n\u003cp>Unearthed footage includes outtakes from documentaries by the radical Newsreel film collective focused on the Black Panther Party, showing figures such as Kathleen Cleaver and Bobby Seale speaking at Oakland Auditorium and DeFremery Park. According to AAMLO, the hours of b-roll from these films—\u003cem>Off the Pig\u003c/em>, \u003cem>MayDay\u003c/em> and \u003cem>Repression\u003c/em>—were previously unknown.\u003c/p>\n\u003cfigure id=\"attachment_13854713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png\" alt=\"A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13854713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x733.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newsreel, known for forerunning citizen journalism and its rapport with Black Panther leadership, worked in a montage style, and much of the footage is brief clips of rallies and street clashes, some set to pop music. Other clips document labor struggles and a 1970 anti-Vietnam march in Los Angeles organized by the National Chicano Moratorium Committee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/MS1950076H264\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Footage from the late 1970s anticipates contemporary struggles against displacement and police shootings: Protesters confronting San Francisco Mayor George Moscone over the mass eviction of the International Hotel, considered the last outpost of Filipino Manilatown; and Oakland High School students marching after Oakland police killed 14-year-old Melvin Black.\u003c/p>\n\u003cp>AAMLO last year received $19,590 from the Council on Library and Information Resources for “recordings at risk” to preserve and share the collection (many of the acetate reels were deteriorating), aiming to the surface material relevant to the Black Panthers’ 50-year anniversary as well as contemporary social-justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13854714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png\" alt=\"Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"597\" class=\"size-medium wp-image-13854714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x762.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The library, said archives assistant Sean Dickerson, hopes to draw attention to its holdings not only of interest to researchers, but also to the Oakland public. AAMLO, housed in a striking 1902 Carnegie building, has an upstairs exhibition and event space that will host a public screening-and-talks series drawing on the film collection and its modern-day resonance.\u003c/p>\n\u003cp>Dickerson also hopes to spur interest in AAMLO’s 163 processed collections; recent acquisitions include the archives of storied KPFA gospel director Emitt Powell and television host Jay Payton, whose 1970s \u003cem>Jay Payton Show\u003c/em> has been likened to an Oakland \u003cem>Soul Train\u003c/em>. “The best thing to come out of this is not only increased awareness of collections of national interest, but also showing the Oakland community what we’re here to preserve,” Dickerson said.\u003c/p>\n\u003cp>By posting the collection \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22&page=2\">online\u003c/a>, AAMLO is also trying to learn from the public. Sean Heyliger, until recently an archivist at AAMLO, said the origin and contents of the Henry J. Williams Jr. Film Collection, which contains more than 100 recordings altogether, are still “mysterious.” Little is known about its namesake, a Los Angeles man who donated the material in 1992, and AAMLO has yet to identify some speakers and locations, let alone the filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13854715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png\" alt=\"Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection.\" width=\"800\" height=\"595\" class=\"size-medium wp-image-13854715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, Heyliger said, he encountered a piece of paper, the result of a 1994 cataloging effort, indicating AAMLO had received a Black Panther film donation. But his colleagues hadn’t seen them. “None of the former directors or employees knew they existed,” he said. Then Heyliger found a box of film canisters in off-site storage, some marked “Bobby Seale” or “Kathleen Cleaver.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAMLO doesn’t have playback equipment, so the archivists gleaned information from canister markings and looked at individual frames on a light table, eventually posting a cursory inventory online. “We hoped someone, maybe even Williams, would come out of the woodwork with the story, but no one did,” Heyliger said. “We still don’t really know how Williams got ahold of these films. We think he knew someone at Newsreel. But he could’ve found them at the flea market.”\u003c/p>\n\n",
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"excerpt": "The African American Museum & Library Oakland has posted nearly seven hours of California activism and organized labor footage from the 1960s and 1970s for free online. ",
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"title": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library | KQED",
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"headline": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farmworkers harvesting onions. Picketing Teamsters rejecting student sympathizers. Oakland high-schoolers protesting the police shooting their peer. Black Panthers serving breakfast.\u003c/p>\n\u003cp>They’re just a few scenes from a newly digitized \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\">African American Museum & Library Oakland\u003c/a> collection of scarcely if ever seen footage documenting California activism and organized labor in the 1960s and 1970s. AAMLO, a reference library and exhibition space, last year received a grant to catalog and transfer the films. Now nearly seven hours of footage is freely available \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22\">online\u003c/a>.\u003c/p>\n\u003cp>Unearthed footage includes outtakes from documentaries by the radical Newsreel film collective focused on the Black Panther Party, showing figures such as Kathleen Cleaver and Bobby Seale speaking at Oakland Auditorium and DeFremery Park. According to AAMLO, the hours of b-roll from these films—\u003cem>Off the Pig\u003c/em>, \u003cem>MayDay\u003c/em> and \u003cem>Repression\u003c/em>—were previously unknown.\u003c/p>\n\u003cfigure id=\"attachment_13854713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png\" alt=\"A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13854713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x733.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newsreel, known for forerunning citizen journalism and its rapport with Black Panther leadership, worked in a montage style, and much of the footage is brief clips of rallies and street clashes, some set to pop music. Other clips document labor struggles and a 1970 anti-Vietnam march in Los Angeles organized by the National Chicano Moratorium Committee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/MS1950076H264\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Footage from the late 1970s anticipates contemporary struggles against displacement and police shootings: Protesters confronting San Francisco Mayor George Moscone over the mass eviction of the International Hotel, considered the last outpost of Filipino Manilatown; and Oakland High School students marching after Oakland police killed 14-year-old Melvin Black.\u003c/p>\n\u003cp>AAMLO last year received $19,590 from the Council on Library and Information Resources for “recordings at risk” to preserve and share the collection (many of the acetate reels were deteriorating), aiming to the surface material relevant to the Black Panthers’ 50-year anniversary as well as contemporary social-justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13854714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png\" alt=\"Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"597\" class=\"size-medium wp-image-13854714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x762.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The library, said archives assistant Sean Dickerson, hopes to draw attention to its holdings not only of interest to researchers, but also to the Oakland public. AAMLO, housed in a striking 1902 Carnegie building, has an upstairs exhibition and event space that will host a public screening-and-talks series drawing on the film collection and its modern-day resonance.\u003c/p>\n\u003cp>Dickerson also hopes to spur interest in AAMLO’s 163 processed collections; recent acquisitions include the archives of storied KPFA gospel director Emitt Powell and television host Jay Payton, whose 1970s \u003cem>Jay Payton Show\u003c/em> has been likened to an Oakland \u003cem>Soul Train\u003c/em>. “The best thing to come out of this is not only increased awareness of collections of national interest, but also showing the Oakland community what we’re here to preserve,” Dickerson said.\u003c/p>\n\u003cp>By posting the collection \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22&page=2\">online\u003c/a>, AAMLO is also trying to learn from the public. Sean Heyliger, until recently an archivist at AAMLO, said the origin and contents of the Henry J. Williams Jr. Film Collection, which contains more than 100 recordings altogether, are still “mysterious.” Little is known about its namesake, a Los Angeles man who donated the material in 1992, and AAMLO has yet to identify some speakers and locations, let alone the filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13854715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png\" alt=\"Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection.\" width=\"800\" height=\"595\" class=\"size-medium wp-image-13854715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, Heyliger said, he encountered a piece of paper, the result of a 1994 cataloging effort, indicating AAMLO had received a Black Panther film donation. But his colleagues hadn’t seen them. “None of the former directors or employees knew they existed,” he said. Then Heyliger found a box of film canisters in off-site storage, some marked “Bobby Seale” or “Kathleen Cleaver.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAMLO doesn’t have playback equipment, so the archivists gleaned information from canister markings and looked at individual frames on a light table, eventually posting a cursory inventory online. “We hoped someone, maybe even Williams, would come out of the woodwork with the story, but no one did,” Heyliger said. “We still don’t really know how Williams got ahold of these films. We think he knew someone at Newsreel. But he could’ve found them at the flea market.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band",
"title": "A Brief History of the Lumpen, the Black Panthers' Revolutionary Funk Band",
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"headTitle": "A Brief History of the Lumpen, the Black Panthers’ Revolutionary Funk Band | KQED",
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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=\"auto, (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=\"auto, (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=\"auto, (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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"excerpt": "When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat.",
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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=\"auto, (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=\"auto, (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=\"auto, (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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"slug": "how-aretha-franklin-supported-angela-davis-and-the-black-panthers",
"title": "How Aretha Franklin Supported Angela Davis and the Black Panthers",
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"headTitle": "How Aretha Franklin Supported Angela Davis and the Black Panthers | KQED",
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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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"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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"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.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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]
},
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"view": "LANDING_VIEW"
},
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},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
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"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
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"filters": [
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}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
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},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
