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"slug": "no-justice-without-us-the-bay-areas-legacy-of-art-activism",
"title": "No Justice Without Us: The Bay Area's Legacy of Art Activism",
"publishDate": 1455552004,
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"headTitle": "No Justice Without Us: The Bay Area’s Legacy of Art Activism | KQED",
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"content": "\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/128523144\u003c/p>\n\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIH-t2aLFog\u003c/p>\n\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\n\u003cp>https://vimeo.com/152916274\u003c/p>\n\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FZkXZQGbnJs\u003c/p>\n\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\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/vIH-t2aLFog'\n title='//www.youtube.com/embed/vIH-t2aLFog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\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/FZkXZQGbnJs'\n title='//www.youtube.com/embed/FZkXZQGbnJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "screening-of-new-doc-shows-panther-power-still-alive-in-oakland",
"title": "Screening of New Doc Shows Panther Power Still Alive in Oakland",
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"content": "\u003cp>It was Tuesday evening, two days after Beyoncé’s dramatic halftime Superbowl Sunday performance, when the Oakland community gathered at Grand Lake Theater to watch a screening of PBS’s upcoming documentary, \u003cem>Black Panthers: Vanguard of the Revolution.\u003c/em> \u003c/p>\n\u003cp>There was a palpable electric buzz (and debate) about what Beyoncé did in front of nearly 112 million viewers: declaring her love of being a black woman while dancing with afro’ed backup dancers clad in Black Panther gear. Beyoncé had managed to create a perfect pop culture segue for the dialogue slated for this evening, asserting not only the historical relevance of \u003cem>Black Panthers: Vanguard of the Revolution,\u003c/em> but also why the themes that drove the movement then are still so painfully relevant to our discussions of race relations and gender today.\u003c/p>\n\u003cp>The night opened with a powerful musical performance by Antique Naked Soul, and remarks from Susie Hernandez (KQED, Director of Programming), Noland Walker (ITVS, Senior Content Director), Maira Benjamin (Pandora, Director of Engineering) and Lynette Gibson McElhaney (Oakland City Councilwoman, District 3). Hernandez and Walker both touched on how public media provides both an opportunity and a platform for communities to tell and share their own stories in an authentic way. Benjamin reminded audiences that the theme of the evening was “revolution” and highlighted her role as a woman of color in technology. Her message, “Bring revolution to all the spaces you represent,” was met with cheers and applause from the crowd. McElhaney was hopeful about how elections and civic engagement can trigger change and she encouraged people to stay informed and embrace the possibilities. \u003c/p>\n\u003cp>Next, eight young black women walked in a line to the front of the theater, wearing t-shirts emblazoned with the words “The Black Woman is God.” Members of San Francisco-based Youth Speaks, the Black Sheroes delivered the most rousing performance of the night. The crowds whooped and hollered and shot their fists into the air. Older generations, including former Black Panther Party members, nodded and bobbed their heads as the women made it plain: our people are still in pain, and injustice is still alive. The performance, a mixture of spoken word and singing, started with a rendition of “Sometimes I Feel Like A Motherless Child” and ended as the women roared out their love of being black women in the face of police brutality, intolerance and racism. \u003c/p>\n\u003cfigure id=\"attachment_11328508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg\" alt=\"Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11328508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins \u003ccite>(Photo: Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the film screening, Ashara Ekundayo (Impact Hub, Chief Content Officer) moderated a dialogue with Ericka Huggins, a former political prisoner and Black Panther Party leader, and Cat Brooks, #BlackLivesMatter Bay Area member and founder of the Anti Police-Terror Project. Ekundayo opened with a brief moment of silence to honored activists who died after giving their lives to revolutionary causes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asked by Ekundayo to describe the Black Panther Party in three words, Huggins replied: “Commitment. Love. People.” She recalled being a young girl, attending the March on Washington for Jobs and Freedom in 1963, one of the largest political rallies in American history. It was a life-changing moment that defined her activism. \u003c/p>\n\u003cp>“A vow arose in my heart,” Huggins recalled, “that I will serve people for the rest of my life.” \u003c/p>\n\u003cp>In describing her own personal commitment over the years, as a leader in the Party and an educator in Oakland, she gave a shout-out to a special audience member that she had met earlier that evening: 7-year-old Vivian, the precocious daughter of KQED’s Hernandez. “When I meet young girls like Vivian, I realize: I don’t have the right to be tired.”\u003c/p>\n\u003cp>Brooks chose her three words carefully: “Power. Passion. Beauty,” adding, “Black people are damaged, tired, and traumatized.” Her hope lies in the current wave of activism. For the first time, thanks largely to the Black Lives Matter movement, there has been “Lots of talk about self-care in activism.” There is a long journey ahead, Brooks asserted, and “We’re figuring it out as we stumble along,” adding that progress can be sustained if activists take time to take to practice self-care as they fight for their communities.\u003c/p>\n\u003cp>The unspoken theme of the night, judging by those who were doing the speaking, was the role of women in activism. Brooks proudly declared that there was a feminine current running through today’s movements in the black community. Huggins attributed this to the “legacy of feminine principles” in the Black Panther Party. As she spoke, Tarika Lewis, the first woman to join the Party, stood up in the crowd with her fist raised. \u003c/p>\n\u003cp>“The FBI destroyed the men in the Black Panther Party – Newton, Seale, and many others – but they forgot something: us women,” declared Huggins. She noted the bond shared by the women in the Party, who ran the revolution from beginning to end, saying, “We were connected by love and service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the lights dimmed and the screening of \u003cem>Black Panthers: Vanguard of the Revolution\u003c/em> began, the audience was left with some parting wisdom: Be with one another. Practice non-judging awareness. Work in coalition and communion. Think globally. For this community, the evening captured not only the Party’s legacy but also the demands for justice that are still painfully relevant today. From a small film screening to the largest stage in a football stadium, it is evident that 50 years later the revolutionary spirit of the Black Panther Party continues to live on in the impassioned communities and people they inspired.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was Tuesday evening, two days after Beyoncé’s dramatic halftime Superbowl Sunday performance, when the Oakland community gathered at Grand Lake Theater to watch a screening of PBS’s upcoming documentary, \u003cem>Black Panthers: Vanguard of the Revolution.\u003c/em> \u003c/p>\n\u003cp>There was a palpable electric buzz (and debate) about what Beyoncé did in front of nearly 112 million viewers: declaring her love of being a black woman while dancing with afro’ed backup dancers clad in Black Panther gear. Beyoncé had managed to create a perfect pop culture segue for the dialogue slated for this evening, asserting not only the historical relevance of \u003cem>Black Panthers: Vanguard of the Revolution,\u003c/em> but also why the themes that drove the movement then are still so painfully relevant to our discussions of race relations and gender today.\u003c/p>\n\u003cp>The night opened with a powerful musical performance by Antique Naked Soul, and remarks from Susie Hernandez (KQED, Director of Programming), Noland Walker (ITVS, Senior Content Director), Maira Benjamin (Pandora, Director of Engineering) and Lynette Gibson McElhaney (Oakland City Councilwoman, District 3). Hernandez and Walker both touched on how public media provides both an opportunity and a platform for communities to tell and share their own stories in an authentic way. Benjamin reminded audiences that the theme of the evening was “revolution” and highlighted her role as a woman of color in technology. Her message, “Bring revolution to all the spaces you represent,” was met with cheers and applause from the crowd. McElhaney was hopeful about how elections and civic engagement can trigger change and she encouraged people to stay informed and embrace the possibilities. \u003c/p>\n\u003cp>Next, eight young black women walked in a line to the front of the theater, wearing t-shirts emblazoned with the words “The Black Woman is God.” Members of San Francisco-based Youth Speaks, the Black Sheroes delivered the most rousing performance of the night. The crowds whooped and hollered and shot their fists into the air. Older generations, including former Black Panther Party members, nodded and bobbed their heads as the women made it plain: our people are still in pain, and injustice is still alive. The performance, a mixture of spoken word and singing, started with a rendition of “Sometimes I Feel Like A Motherless Child” and ended as the women roared out their love of being black women in the face of police brutality, intolerance and racism. \u003c/p>\n\u003cfigure id=\"attachment_11328508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg\" alt=\"Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11328508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BP50-172.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Cat Brooks, Ashara Ekundayo, Ericka Huggins \u003ccite>(Photo: Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the film screening, Ashara Ekundayo (Impact Hub, Chief Content Officer) moderated a dialogue with Ericka Huggins, a former political prisoner and Black Panther Party leader, and Cat Brooks, #BlackLivesMatter Bay Area member and founder of the Anti Police-Terror Project. Ekundayo opened with a brief moment of silence to honored activists who died after giving their lives to revolutionary causes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asked by Ekundayo to describe the Black Panther Party in three words, Huggins replied: “Commitment. Love. People.” She recalled being a young girl, attending the March on Washington for Jobs and Freedom in 1963, one of the largest political rallies in American history. It was a life-changing moment that defined her activism. \u003c/p>\n\u003cp>“A vow arose in my heart,” Huggins recalled, “that I will serve people for the rest of my life.” \u003c/p>\n\u003cp>In describing her own personal commitment over the years, as a leader in the Party and an educator in Oakland, she gave a shout-out to a special audience member that she had met earlier that evening: 7-year-old Vivian, the precocious daughter of KQED’s Hernandez. “When I meet young girls like Vivian, I realize: I don’t have the right to be tired.”\u003c/p>\n\u003cp>Brooks chose her three words carefully: “Power. Passion. Beauty,” adding, “Black people are damaged, tired, and traumatized.” Her hope lies in the current wave of activism. For the first time, thanks largely to the Black Lives Matter movement, there has been “Lots of talk about self-care in activism.” There is a long journey ahead, Brooks asserted, and “We’re figuring it out as we stumble along,” adding that progress can be sustained if activists take time to take to practice self-care as they fight for their communities.\u003c/p>\n\u003cp>The unspoken theme of the night, judging by those who were doing the speaking, was the role of women in activism. Brooks proudly declared that there was a feminine current running through today’s movements in the black community. Huggins attributed this to the “legacy of feminine principles” in the Black Panther Party. As she spoke, Tarika Lewis, the first woman to join the Party, stood up in the crowd with her fist raised. \u003c/p>\n\u003cp>“The FBI destroyed the men in the Black Panther Party – Newton, Seale, and many others – but they forgot something: us women,” declared Huggins. She noted the bond shared by the women in the Party, who ran the revolution from beginning to end, saying, “We were connected by love and service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the lights dimmed and the screening of \u003cem>Black Panthers: Vanguard of the Revolution\u003c/em> began, the audience was left with some parting wisdom: Be with one another. Practice non-judging awareness. Work in coalition and communion. Think globally. For this community, the evening captured not only the Party’s legacy but also the demands for justice that are still painfully relevant today. From a small film screening to the largest stage in a football stadium, it is evident that 50 years later the revolutionary spirit of the Black Panther Party continues to live on in the impassioned communities and people they inspired.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmuIatp3YDo\u003c/p>\n\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/BLMBAYAREA/status/696519908050362368\u003c/p>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\n\u003cp>https://twitter.com/Luvvie/status/696521074922532864\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Michael Kennedy, the civil rights attorney who successfully defended Huey Newton and many other notable figures in his 50-year career, has died. He was 78.\u003c/p>\n\u003cp>Born in Washington, Kennedy first moved to the Bay Area to attend college, first at UC Berkeley and later at Hastings College of Law. He began his legal career working on high-profile cases, most notably with Newton when the Black Panther was charged with killing Oakland Police Officer John Frey in 1967, and the Chicago Eight conspiracy case. \u003c/p>\n\u003cp>Kennedy started his private practice in San Francisco in 1969, and Newton would be one of his first clients. Kennedy would later defend the co-founder of the Black Panther Party against charges that he murdered a 17-year-old prostitute. Newton went to trial twice over the charge, and both times a mistrial was declared, the juries deadlocked in favor of acquittal. The charge was dropped in 1979.\u003c/p>\n\u003cp>Other early clients of Kennedy included LSD guru Timothy Leary, Bernardine Dohrn of the Weathermen, and Jim and Artie Mitchell, the founders of the world-famous O’Farrell Theater in San Francisco’s Tenderloin district. Kennedy began working with the brothers in early ’70s, defending them against obscenity charges brought by the city of San Francisco — the brothers would be arrested close to 200 times during this period. Decades later, in 1991, Kennedy would defend Jim Mitchell against charges that he killed his brother Artie while in a drunken rage; Kennedy succeeded in reducing the charge from murder in the second degree to manslaughter.\u003c/p>\n\u003cp>“When you think about progressive defense attorneys in San Francisco in the 1970s, no name looms larger than that of Michael Kennedy,” Senior Editor for KQED News and former \u003cem>Rolling Stone\u003c/em> reporter David Weir says. “He was involved in big case after big case and my impression is that he won the overwhelming majority of them. He was a really scrappy lawyer in court, devoted to his clients, a good friend to many people (including me), the host of radical chic parties, and inside, a man with a big heart.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the end of the ’70s, Kennedy had moved to New York and would go on to work for \u003ca href=\"http://www.celebstoner.com/news/marijuana-news/2016/01/25/high-times-chairman-michael-kennedy-dies/\" target=\"_blank\" rel=\"noopener\">High Times publisher Tom Forcade\u003c/a>, New York mob boss Gaetano Badalamenti and even Ivana Trump. He even made an appearance in the HBO documentary miniseries \u003ci>The Jinx: The Life and Deaths of Robert Durst\u003c/i>, as he also represented Durst’s brother, Douglas Durst, and the Durst Organization.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=michael-kennedy&pid=177447859&fhid=2058\" target=\"_blank\" rel=\"noopener\">Kennedy died Monday morning\u003c/a> from an unspecified illness at Memorial Sloan Kettering Hospital in New York. His funeral has been scheduled for this Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Kennedy, the civil rights attorney who successfully defended Huey Newton and many other notable figures in his 50-year career, has died. He was 78.\u003c/p>\n\u003cp>Born in Washington, Kennedy first moved to the Bay Area to attend college, first at UC Berkeley and later at Hastings College of Law. He began his legal career working on high-profile cases, most notably with Newton when the Black Panther was charged with killing Oakland Police Officer John Frey in 1967, and the Chicago Eight conspiracy case. \u003c/p>\n\u003cp>Kennedy started his private practice in San Francisco in 1969, and Newton would be one of his first clients. Kennedy would later defend the co-founder of the Black Panther Party against charges that he murdered a 17-year-old prostitute. Newton went to trial twice over the charge, and both times a mistrial was declared, the juries deadlocked in favor of acquittal. The charge was dropped in 1979.\u003c/p>\n\u003cp>Other early clients of Kennedy included LSD guru Timothy Leary, Bernardine Dohrn of the Weathermen, and Jim and Artie Mitchell, the founders of the world-famous O’Farrell Theater in San Francisco’s Tenderloin district. Kennedy began working with the brothers in early ’70s, defending them against obscenity charges brought by the city of San Francisco — the brothers would be arrested close to 200 times during this period. Decades later, in 1991, Kennedy would defend Jim Mitchell against charges that he killed his brother Artie while in a drunken rage; Kennedy succeeded in reducing the charge from murder in the second degree to manslaughter.\u003c/p>\n\u003cp>“When you think about progressive defense attorneys in San Francisco in the 1970s, no name looms larger than that of Michael Kennedy,” Senior Editor for KQED News and former \u003cem>Rolling Stone\u003c/em> reporter David Weir says. “He was involved in big case after big case and my impression is that he won the overwhelming majority of them. He was a really scrappy lawyer in court, devoted to his clients, a good friend to many people (including me), the host of radical chic parties, and inside, a man with a big heart.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of the ’70s, Kennedy had moved to New York and would go on to work for \u003ca href=\"http://www.celebstoner.com/news/marijuana-news/2016/01/25/high-times-chairman-michael-kennedy-dies/\" target=\"_blank\" rel=\"noopener\">High Times publisher Tom Forcade\u003c/a>, New York mob boss Gaetano Badalamenti and even Ivana Trump. He even made an appearance in the HBO documentary miniseries \u003ci>The Jinx: The Life and Deaths of Robert Durst\u003c/i>, as he also represented Durst’s brother, Douglas Durst, and the Durst Organization.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=michael-kennedy&pid=177447859&fhid=2058\" target=\"_blank\" rel=\"noopener\">Kennedy died Monday morning\u003c/a> from an unspecified illness at Memorial Sloan Kettering Hospital in New York. His funeral has been scheduled for this Friday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Coming up as a young feminist punk, I regularly attended events merging art, performance, music, speakers, politics, and nourishing food. Rag-tag and DIY, these happenings allowed my community to tell our own stories, and provided a space to explore trangressive ideas of gender, place, class, and society. They also usually took place at unexpected venues — like anonymous storefronts, guerrilla cafes, and private houses.\u003c/p>\n\u003cp>\u003cem>Streetopia\u003c/em>, a new book bringing together art, photos, essays, interviews and speeches from a 2012 “Anti-Gentrification Art Fair” in San Francisco, is a reminder of why such guerrilla spaces and actions remain crucial.\u003c/p>\n\u003cfigure id=\"attachment_11104675\" class=\"wp-caption alignright\" style=\"max-width: 187px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/th.jpg\" alt=\"'Streetopia.'\" width=\"187\" height=\"300\" class=\"size-full wp-image-11104675\">\u003cfigcaption class=\"wp-caption-text\">‘Streetopia.’\u003c/figcaption>\u003c/figure>\n\u003cp>Edited by Erick Lyle, \u003cem>Streetopia\u003c/em> acts in part as a historical archive of the festival — curated by Lyle, \u003ca href=\"http://www.nytimes.com/2013/06/09/fashion/for-chris-johanson-a-little-guy-makes-an-oversize-impact-possessed.html?_r=0\">Chris Johanson\u003c/a> and \u003ca href=\"http://www.seemen.org/kal.html\">Kal Spelletich\u003c/a> — which spanned five weeks and 43 free live events in venues across San Francisco. Participating artists included Barry McGee, Monica Canileo, Swoon, and Emory Douglas. Visual art and sculpture were just two aspects of the ambitious, layered project, which also included a daily free food cafe (inspired by the Black Panther’s \u003ca href=\"https://en.wikipedia.org/wiki/Free_Breakfast_for_Children\">Free Breakfast for School Children \u003c/a>program), ongoing exhibits, Tenderloin people’s walking history tours, street dance performances by artists like \u003ca href=\"http://zinewiki.com/Brontez\">Brontez Purnell\u003c/a> of the Younger Lovers, daily speaking events, DIY herbal medicine classes, and skill share workshops.\u003c/p>\n\u003cp>In a story that’s become all too common, Lyle moved in 2009 to Brooklyn after being evicted from his Bay Area home — a sad blow for San Francisco, which lost a long-time chronicler of its subterranean sociopolitical histories. Take the excellent “\u003ca href=\"http://www.foundsf.org/index.php?title=The_Epicenter_of_Crime:_The_Hunt%E2%80%99s_Donuts_Story\">The Epicenter of Crime: The Hunt’s Donuts Story\u003c/a>,” Lyle’s essay about the “thoroughly and irreducibly criminal” coffee shop at 20th and Mission where winos, prostitutes, gang members and graffiti writers took donut breaks side by side. His classic book \u003ca href=\"http://onthelowerfrequencies.com/\">\u003cem>On the Lower Frequencies\u003c/em>\u003c/a> paints a detailed history of the punks, activists, and misfits who squatted in an abandoned pool hall at 949 Market in 2001, turning it into an thriving community space, complete with a free cafe. And as the editor of \u003ca href=\"http://zinewiki.com/Scam\">Scam\u003c/a> zine and a homeless activist, Lyle played an integral role in trying to keep radical politics and messy, sometimes desperate utopian dreams of equality and creativity alive, even as those ideals in San Francisco became swallowed by startups and tech wealth.\u003c/p>\n\u003cp>“Streetopia [the festival] was in some ways an attempt to continue the collectivity and non-monetary exchange of culture embodied in the 949 Market squat in more traditional venues,” writes Lyle in the new book’s introduction. These venues included the \u003ca href=\"http://www.luggagestoregallery.org/\">Luggage Store Gallery\u003c/a> — the home base for Streetopia — along with the \u003ca href=\"http://www.nytimes.com/2011/05/29/us/29bcintel.html\">Tenderloin National Forest\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11067073\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/streetopia2-e1447041974157.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/streetopia2-e1447041974157.jpg\" alt=\"Ryder Cooley performing at the Streetopia Free Cafe in the Tenderloin National Forest \" width=\"400\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ryder Cooley performing at the Streetopia Free Cafe in the Tenderloin National Forest.\u003c/figcaption>\u003c/figure>\n\u003cp>Initially conceived as a way to document utopian movements in San Francisco, Streetopia the event soon morphed into a reaction, writes Lyle, to Mayor Ed Lee’s announcement of “ambitious and contentious” plans to redevelop the Mid-Market Street area into “dot-com corridor.” At this point, Twitter entered the picture — aided by an unprecedented payroll tax break, offered as enticement for tech firms to choose long-neglected Market Street for their headquarters rather than Silicon Valley. The area was soon christened a new “arts district,” despite the fact that artists and nonprofits “scrambled to find studio and exhibition spaces in the Tenderloin and around Sixth Street in the wake of concurrent city plans to re-brand these historically low-rent areas — long slandered as the city’s skid row.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Streetopia\u003c/em> allowed hundreds of artists, musicians, Tenderloin residents, activists, healing arts teachers, activists, cultural workers and other volunteers to act on the question: What would an inclusive and diverse arts district look like if \u003cem>we\u003c/em> called the shots?\u003c/p>\n\u003cp>Along with Lyle’s essays, \u003cem>Streetopia\u003c/em> contains writing from some of San Francisco’s most radical (current and former) denizens. Rebecca Solnit’s essay “Living in Boomtown” is included, as is “The Gentrification of the Mind,” a talk by Sarah Schulman. A.C. Thompson, the investigative journalist who revealed the violent, white-supremacist \u003ca href=\"http://www.thenation.com/authors/ac-thompson/\">crimes and cover-ups\u003c/a> of post-Hurricane Katrina New Orleans, gives DIY muckraking tips. Amos Gregory writes about the San Francisco Veteran’s Mural Project. Jesse Drew gives a nice history of the Bay Area’s radical movements in the 1960s — including the \u003ca href=\"http://www.diggers.org/\">Diggers\u003c/a>, the Black Panthers, and the communalist \u003ca href=\"http://foundsf.org/index.php?title=Communalism_in_San_Francisco\">Kaliflower \u003c/a>newsletter. Renny Pritikin writes a history of alternative arts spaces in the city. Finally, any book that mentions “utopia” in the Bay Area wouldn’t be complete without an interview with Ernest Callanbach, author of \u003ca href=\"https://en.wikipedia.org/wiki/Ecotopia\">Ecotopia\u003c/a>, the 1975 novel that envisions San Francisco as the ultimate green, sexually liberated, sustainable boomtown of the future.\u003c/p>\n\u003cp>For the reader, like myself, who didn’t attend the Streetopia events, the book offers an opportunity to vicariously experience the whole thing in all of its warm-blooded, large-hearted, iconoclastic, capitalism-challenging glory.\u003c/p>\n\u003cp>“The idea of finding utopia in the Tenderloin might be implausible to many,” Lyle writes in “Utopia in the Tenderloin.” Yet “if the Tenderloin, a neighborhood that has traditionally been abandoned by the rest of the city, has learned one thing, then it’s [that] direct action gets the goods.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Streetopia\u003c/em> stands as an argument, an artifact, and a convincing reminder of that bold assertion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Coming up as a young feminist punk, I regularly attended events merging art, performance, music, speakers, politics, and nourishing food. Rag-tag and DIY, these happenings allowed my community to tell our own stories, and provided a space to explore trangressive ideas of gender, place, class, and society. They also usually took place at unexpected venues — like anonymous storefronts, guerrilla cafes, and private houses.\u003c/p>\n\u003cp>\u003cem>Streetopia\u003c/em>, a new book bringing together art, photos, essays, interviews and speeches from a 2012 “Anti-Gentrification Art Fair” in San Francisco, is a reminder of why such guerrilla spaces and actions remain crucial.\u003c/p>\n\u003cfigure id=\"attachment_11104675\" class=\"wp-caption alignright\" style=\"max-width: 187px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/th.jpg\" alt=\"'Streetopia.'\" width=\"187\" height=\"300\" class=\"size-full wp-image-11104675\">\u003cfigcaption class=\"wp-caption-text\">‘Streetopia.’\u003c/figcaption>\u003c/figure>\n\u003cp>Edited by Erick Lyle, \u003cem>Streetopia\u003c/em> acts in part as a historical archive of the festival — curated by Lyle, \u003ca href=\"http://www.nytimes.com/2013/06/09/fashion/for-chris-johanson-a-little-guy-makes-an-oversize-impact-possessed.html?_r=0\">Chris Johanson\u003c/a> and \u003ca href=\"http://www.seemen.org/kal.html\">Kal Spelletich\u003c/a> — which spanned five weeks and 43 free live events in venues across San Francisco. 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Take the excellent “\u003ca href=\"http://www.foundsf.org/index.php?title=The_Epicenter_of_Crime:_The_Hunt%E2%80%99s_Donuts_Story\">The Epicenter of Crime: The Hunt’s Donuts Story\u003c/a>,” Lyle’s essay about the “thoroughly and irreducibly criminal” coffee shop at 20th and Mission where winos, prostitutes, gang members and graffiti writers took donut breaks side by side. His classic book \u003ca href=\"http://onthelowerfrequencies.com/\">\u003cem>On the Lower Frequencies\u003c/em>\u003c/a> paints a detailed history of the punks, activists, and misfits who squatted in an abandoned pool hall at 949 Market in 2001, turning it into an thriving community space, complete with a free cafe. 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These venues included the \u003ca href=\"http://www.luggagestoregallery.org/\">Luggage Store Gallery\u003c/a> — the home base for Streetopia — along with the \u003ca href=\"http://www.nytimes.com/2011/05/29/us/29bcintel.html\">Tenderloin National Forest\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11067073\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/streetopia2-e1447041974157.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/streetopia2-e1447041974157.jpg\" alt=\"Ryder Cooley performing at the Streetopia Free Cafe in the Tenderloin National Forest \" width=\"400\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ryder Cooley performing at the Streetopia Free Cafe in the Tenderloin National Forest.\u003c/figcaption>\u003c/figure>\n\u003cp>Initially conceived as a way to document utopian movements in San Francisco, Streetopia the event soon morphed into a reaction, writes Lyle, to Mayor Ed Lee’s announcement of “ambitious and contentious” plans to redevelop the Mid-Market Street area into “dot-com corridor.” At this point, Twitter entered the picture — aided by an unprecedented payroll tax break, offered as enticement for tech firms to choose long-neglected Market Street for their headquarters rather than Silicon Valley. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Streetopia\u003c/em> allowed hundreds of artists, musicians, Tenderloin residents, activists, healing arts teachers, activists, cultural workers and other volunteers to act on the question: What would an inclusive and diverse arts district look like if \u003cem>we\u003c/em> called the shots?\u003c/p>\n\u003cp>Along with Lyle’s essays, \u003cem>Streetopia\u003c/em> contains writing from some of San Francisco’s most radical (current and former) denizens. Rebecca Solnit’s essay “Living in Boomtown” is included, as is “The Gentrification of the Mind,” a talk by Sarah Schulman. A.C. Thompson, the investigative journalist who revealed the violent, white-supremacist \u003ca href=\"http://www.thenation.com/authors/ac-thompson/\">crimes and cover-ups\u003c/a> of post-Hurricane Katrina New Orleans, gives DIY muckraking tips. Amos Gregory writes about the San Francisco Veteran’s Mural Project. Jesse Drew gives a nice history of the Bay Area’s radical movements in the 1960s — including the \u003ca href=\"http://www.diggers.org/\">Diggers\u003c/a>, the Black Panthers, and the communalist \u003ca href=\"http://foundsf.org/index.php?title=Communalism_in_San_Francisco\">Kaliflower \u003c/a>newsletter. Renny Pritikin writes a history of alternative arts spaces in the city. Finally, any book that mentions “utopia” in the Bay Area wouldn’t be complete without an interview with Ernest Callanbach, author of \u003ca href=\"https://en.wikipedia.org/wiki/Ecotopia\">Ecotopia\u003c/a>, the 1975 novel that envisions San Francisco as the ultimate green, sexually liberated, sustainable boomtown of the future.\u003c/p>\n\u003cp>For the reader, like myself, who didn’t attend the Streetopia events, the book offers an opportunity to vicariously experience the whole thing in all of its warm-blooded, large-hearted, iconoclastic, capitalism-challenging glory.\u003c/p>\n\u003cp>“The idea of finding utopia in the Tenderloin might be implausible to many,” Lyle writes in “Utopia in the Tenderloin.” Yet “if the Tenderloin, a neighborhood that has traditionally been abandoned by the rest of the city, has learned one thing, then it’s [that] direct action gets the goods.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Streetopia\u003c/em> stands as an argument, an artifact, and a convincing reminder of that bold assertion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>\u003ca href=\"http://theblackpanthers.com/home/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> is the newest documentary from acclaimed filmmaker Stanley Nelson, responsible for \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/freedomriders/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Riders\u003c/i>\u003c/a> (2009) and \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/films/freedomsummer/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Summer\u003c/i>\u003c/a> (2014). Employing a remarkable collage of archival and found footage, photographs and present-day interviews, the film charts the rise and fall of the Black Panther Party from its Oakland roots to its international expansion and subsequent disintegration.\u003c/p>\n\u003cfigure id=\"attachment_10991971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nelson640.jpg\" alt=\"Director Stanley Nelson.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Stanley Nelson. \u003ccite>(Courtesy of Sam Aleshinloye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the names Huey Newton, Bobby Seale and Eldridge and Kathleen Cleaver don’t spark some recognition in you (and they should), Nelson’s film acts as a smart, moving primer for anyone wanting a point of entry into the Black Panther origin story.\u003c/p>\n\u003cp>The film opens with grim footage of the 1966 Oakland Police Department brutalizing African-Americans. As many of the founding members of the Black Panthers make clear in their interviews with Nelson, this relentless oppression led to the founding of the party. Nelson spoke with me about the conditions that informed the creation of this revolutionary group and his hopes for the future.\u003c/p>\n\u003cp>\u003cb>Why was the Oakland police department particularly notorious for their brutality?\u003c/b>\u003c/p>\n\u003cp>Historically the police in Oakland were known to be incredibly brutal. In California overall, Oakland stood out. California went to the western South to recruit police. When I first came to California as a young man, I was warned, “Don’t mess with the police in California. Don’t mess with the police.”\u003c/p>\n\u003cfigure id=\"attachment_10991969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg\" alt=\"Charles Bursey hands plate of food to a child seated at Free Breakfast Program.\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640-400x276.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bursey hands plate of food to a child seated at Free Breakfast Program. \u003ccite>(Photo courtesy of Pirkle Jones and Ruth-Marion Baruch.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Black Panthers coalesced in the urban North with a different set of goals and tactics than the Civil Rights movement in the South.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, the Panthers were a reaction to what was happening in the South. The things that were being fought for in the South were, in general, rights that people had in the North. You’re fighting for the right to eat at a restaurant. You’re fighting for the right to vote. You’re fighting for the right to ride anywhere you want on a bus.\u003c/p>\n\u003cp>Those were the things that northern African-Americans had. You’re watching this on TV, and you’re saying, “What about us? What about our problems here?” In some ways, the Panthers started as a northern movement. They were saying, “These are our problems. Our problems here are police brutality. Our problems here are terrible education. Our problems here are housing. How do we address those?”\u003c/p>\n\u003cp>\u003cb>In one of the interviews, a former Black Panther talks about his motivation for joining and says, “African-Americans don’t have the safety and privilege of walking down the street the way white people do.”\u003c/b>\u003c/p>\n\u003cp>In some ways it was very similar to the southern Civil Rights movement where these rights had been deprived for generations, and for a number of different reasons. In the 1950s and the 1960s, it was like, “Oh no, wait. We’re not going to take it anymore.”\u003c/p>\n\u003cp>Part of our African-American culture and part of what makes African-Americans who they are is that we have lived under that and yet we continue to thrive and flourish. That’s how we look at life. As people have said before, the Americans who believe in America more than anybody are African-Americans.\u003c/p>\n\u003cfigure id=\"attachment_10991970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Children640.jpg\" alt=\"A group of seven small children walk to school with books in hand.\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A group of seven small children walk to school with books in hand. \u003ccite>(Photo courtesy of Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It was surprising to learn how young the Black Panthers were, 19 and 20-year-olds.\u003c/b>\u003c/p>\n\u003cp>In general, the Panthers were much more of a youth movement, as we see in the film. As a young person, if you’ve seen passive resistance when you’re ten in 1960… and now it’s 1968 and you’re 18, and things haven’t changed and he’s still preaching this stuff, you’re like, “Wait a minute. Maybe it’s time for something new.”\u003c/p>\n\u003cp>There were young people, especially who were like, “What are we going to do?” You see that in SNCC, the Student Coordinating Committee, who started calling Martin Luther King, “Da Lord.” In some ways, they’d had enough of it. The other way that it was looked at I think was that they were all part and parcel of the same thing. We have passive resistance coming from this way, and if you have the more militant Panthers coming from that way, if you have the black Muslims coming from that way, all that pressure only helps. We have Malcolm X coming here. For me, it’s all part of one movement. In general terms, we were all fighting for the same thing.\u003c/p>\n\u003cfigure id=\"attachment_10991972\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Parade640.jpg\" alt=\"Panthers on parade at Free Huey rally in Defermery Park (named by the Panther Bobby Hutton Park) in West Oakland, July 28, 1968.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Parade640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Parade640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Panthers on parade at Free Huey rally in Defermery Park (named by the Panther Bobby Hutton Park) in West Oakland, July 28, 1968. \u003ccite>(Photo courtesy of Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Have you talked with educators about the way the Black Panthers are taught in school?\u003c/b>\u003c/p>\n\u003cp>I was just talking with a high school teacher who said they have no way to teach it. They don’t teach it at all. It’s glossed over. We are hoping that this film gets to high school students.\u003c/p>\n\u003cp>\u003cb>Bobby Seale, one of the founding members of the Panthers, is still alive but only appears in archival footage. Did you contact him to participate in the film?\u003c/b>\u003c/p>\n\u003cp>Unfortunately, we couldn’t reach an agreement with Bobby to participate in the film.\u003c/p>\n\u003cp>\u003cb>The documentary ends with codas about the deaths of Huey Newton and Eldridge Cleaver while the song “Winter in America” plays. Was that the ending you had in mind when you first conceived of the film seven years ago?\u003c/b>\u003c/p>\n\u003cp>I don’t think the Panthers were successful in most of the things — the ten point program — they were trying to do. In some ways, the film is very optimistic in that it’s about people who started a movement. Hopefully, we’re in the beginning of the same kind of movement today where young people are very involved and they get something from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F56O3kZ9qr0\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i> opens Oct. 2 at the Landmark Opera Plaza in San Francisco, Landmark Piedmont (Oakland) and Shattuck (Berkeley), and the Rafael Film Center in San Rafael.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003ca href=\"http://theblackpanthers.com/home/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> is the newest documentary from acclaimed filmmaker Stanley Nelson, responsible for \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/freedomriders/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Riders\u003c/i>\u003c/a> (2009) and \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/films/freedomsummer/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Summer\u003c/i>\u003c/a> (2014). Employing a remarkable collage of archival and found footage, photographs and present-day interviews, the film charts the rise and fall of the Black Panther Party from its Oakland roots to its international expansion and subsequent disintegration.\u003c/p>\n\u003cfigure id=\"attachment_10991971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nelson640.jpg\" alt=\"Director Stanley Nelson.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Stanley Nelson. \u003ccite>(Courtesy of Sam Aleshinloye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the names Huey Newton, Bobby Seale and Eldridge and Kathleen Cleaver don’t spark some recognition in you (and they should), Nelson’s film acts as a smart, moving primer for anyone wanting a point of entry into the Black Panther origin story.\u003c/p>\n\u003cp>The film opens with grim footage of the 1966 Oakland Police Department brutalizing African-Americans. As many of the founding members of the Black Panthers make clear in their interviews with Nelson, this relentless oppression led to the founding of the party. Nelson spoke with me about the conditions that informed the creation of this revolutionary group and his hopes for the future.\u003c/p>\n\u003cp>\u003cb>Why was the Oakland police department particularly notorious for their brutality?\u003c/b>\u003c/p>\n\u003cp>Historically the police in Oakland were known to be incredibly brutal. In California overall, Oakland stood out. California went to the western South to recruit police. When I first came to California as a young man, I was warned, “Don’t mess with the police in California. Don’t mess with the police.”\u003c/p>\n\u003cfigure id=\"attachment_10991969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg\" alt=\"Charles Bursey hands plate of food to a child seated at Free Breakfast Program.\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640-400x276.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bursey hands plate of food to a child seated at Free Breakfast Program. \u003ccite>(Photo courtesy of Pirkle Jones and Ruth-Marion Baruch.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Black Panthers coalesced in the urban North with a different set of goals and tactics than the Civil Rights movement in the South.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, the Panthers were a reaction to what was happening in the South. The things that were being fought for in the South were, in general, rights that people had in the North. You’re fighting for the right to eat at a restaurant. You’re fighting for the right to vote. You’re fighting for the right to ride anywhere you want on a bus.\u003c/p>\n\u003cp>Those were the things that northern African-Americans had. You’re watching this on TV, and you’re saying, “What about us? What about our problems here?” In some ways, the Panthers started as a northern movement. They were saying, “These are our problems. Our problems here are police brutality. Our problems here are terrible education. Our problems here are housing. How do we address those?”\u003c/p>\n\u003cp>\u003cb>In one of the interviews, a former Black Panther talks about his motivation for joining and says, “African-Americans don’t have the safety and privilege of walking down the street the way white people do.”\u003c/b>\u003c/p>\n\u003cp>In some ways it was very similar to the southern Civil Rights movement where these rights had been deprived for generations, and for a number of different reasons. In the 1950s and the 1960s, it was like, “Oh no, wait. We’re not going to take it anymore.”\u003c/p>\n\u003cp>Part of our African-American culture and part of what makes African-Americans who they are is that we have lived under that and yet we continue to thrive and flourish. That’s how we look at life. As people have said before, the Americans who believe in America more than anybody are African-Americans.\u003c/p>\n\u003cfigure id=\"attachment_10991970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Children640.jpg\" alt=\"A group of seven small children walk to school with books in hand.\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A group of seven small children walk to school with books in hand. \u003ccite>(Photo courtesy of Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It was surprising to learn how young the Black Panthers were, 19 and 20-year-olds.\u003c/b>\u003c/p>\n\u003cp>In general, the Panthers were much more of a youth movement, as we see in the film. As a young person, if you’ve seen passive resistance when you’re ten in 1960… and now it’s 1968 and you’re 18, and things haven’t changed and he’s still preaching this stuff, you’re like, “Wait a minute. Maybe it’s time for something new.”\u003c/p>\n\u003cp>There were young people, especially who were like, “What are we going to do?” You see that in SNCC, the Student Coordinating Committee, who started calling Martin Luther King, “Da Lord.” In some ways, they’d had enough of it. The other way that it was looked at I think was that they were all part and parcel of the same thing. We have passive resistance coming from this way, and if you have the more militant Panthers coming from that way, if you have the black Muslims coming from that way, all that pressure only helps. We have Malcolm X coming here. For me, it’s all part of one movement. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i> opens Oct. 2 at the Landmark Opera Plaza in San Francisco, Landmark Piedmont (Oakland) and Shattuck (Berkeley), and the Rafael Film Center in San Rafael.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fight-the-power/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Fight the Power\u003c/h2>\n\u003cdiv class=\"event-desc\">New exhibit by photojournalist Jeffrey Blankfort.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 6-28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sargent Johnson Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fight-the-power/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In August of 2014, 80-year-old Bay Area activist and photojournalist Jeffrey Blankfort attended a \u003ca href=\"http://www.sfgate.com/bayarea/article/Israeli-ship-may-leave-Oakland-to-unload-cargo-5698306.php\" target=\"_blank\" rel=\"noopener\">protest against an Israeli Zim line ship\u003c/a> headed for the port of Oakland.\u003c/p>\n\u003cp>Meeting at the West Oakland BART station, Blankfort and others protesting Israel’s actions in Gaza encountered young members of the black community organizing in opposition to events in Ferguson, Miss. as a part of the \u003ca href=\"http://blacklivesmatter.com\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement. The two groups marched to the Oakland port together in combined protest of Israeli and U.S. violence, of oppression and militarization. The moment crystallized the connection between African-American and Palestinian struggles in Blankfort’s mind: a connection made by \u003ca href=\"http://www.huffingtonpost.com/2014/08/14/ferguson-gaza_n_5679923.html\">the people of Ferguson and Palestine\u003c/a>, and later by the editorial board of the \u003ca href=\"http://www.nytimes.com/2014/11/26/opinion/the-meaning-of-the-ferguson-riots.html?_r=0\">\u003cem>New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As one who’s documented struggles of oppressed peoples both at home and abroad since the early 1960s, Blankfort echoes the similarities. “The photographs of U.S. military vehicles with Ferguson police on top as snipers was a horrifying scene, but this is what Palestinians see all the time,” Blankfort says. “Both groups feel that their lives don’t matter to those who oppress them.”\u003c/p>\n\u003cp>When Blankfort was given the opportunity to show his work at the \u003ca href=\"http://www.aaacc.org/index.php\">African American Art & Culture Complex\u003c/a> (AAACC) for Black History Month, he chose photographs of both the Black Panthers and Palestinian refugee camps. In the exhibit, \u003cem>Fight the Power\u003c/em>, his documentation of Black Panthers protests in the 1960s and Palestinian life in Lebanon, Jordan and occupied Palestine from 1970 to 2004 elucidate the historical similarities of today’s conflicts in Ferguson and Gaza.\u003c/p>\n\u003cfigure id=\"attachment_10368144\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/SealeBrando.jpg\" alt=\"Bobby Seale and Marlon Brando at the at the memorial for Bobby Hutton, April 12, 1968, at Merritt Park in Oakland. (Photo: Jeffrey Blankfort)\" width=\"640\" height=\"425\" class=\"size-full wp-image-10368144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/SealeBrando.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/SealeBrando-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale and Marlon Brando at the at the memorial for Bobby Hutton, April 12, 1968, at Merritt Park in Oakland. (Photo: Jeffrey Blankfort)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Fight the Power\u003c/i> opens on Friday, Feb. 6th with a reception from 6-8pm in the Sargent Johnson Gallery of the AAACC in San Francisco. Afterward, a panel discussion on Ferguson and Gaza takes place in the AAACC theater with former Black Panther Billy X Jennings, Executive Director of the Arab Resource Organizing Center Lara Kiswani, ED.D Educational Leadership Dr. Rama Kased, and Executive Director of the AAACC Mohammed Bilal. Blankfort’s exhibit runs through Feb. 28. Visit the \u003ca href=\"http://www.aaacc.org/index.html\">AAACC website\u003c/a> for more information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read \u003ca href=\"http://ww2.kqed.org/arts/2014/08/18/jeffrey-blankfort-celebrates-his-80th-birthday-by-putting-his-historic-bay-area-photos-online/\" target=\"_blank\" rel=\"noopener\">KQED Arts’ interview with Jeffrey Blankfort\u003c/a> and visit \u003ca href=\"http://www.jeffblankfortphotography.com\" target=\"_blank\" rel=\"noopener\">Blankfort’s website\u003c/a> to learn more about his work. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fight-the-power/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Fight the Power\u003c/h2>\n\u003cdiv class=\"event-desc\">New exhibit by photojournalist Jeffrey Blankfort.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 6-28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sargent Johnson Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fight-the-power/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In August of 2014, 80-year-old Bay Area activist and photojournalist Jeffrey Blankfort attended a \u003ca href=\"http://www.sfgate.com/bayarea/article/Israeli-ship-may-leave-Oakland-to-unload-cargo-5698306.php\" target=\"_blank\" rel=\"noopener\">protest against an Israeli Zim line ship\u003c/a> headed for the port of Oakland.\u003c/p>\n\u003cp>Meeting at the West Oakland BART station, Blankfort and others protesting Israel’s actions in Gaza encountered young members of the black community organizing in opposition to events in Ferguson, Miss. as a part of the \u003ca href=\"http://blacklivesmatter.com\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement. The two groups marched to the Oakland port together in combined protest of Israeli and U.S. violence, of oppression and militarization. The moment crystallized the connection between African-American and Palestinian struggles in Blankfort’s mind: a connection made by \u003ca href=\"http://www.huffingtonpost.com/2014/08/14/ferguson-gaza_n_5679923.html\">the people of Ferguson and Palestine\u003c/a>, and later by the editorial board of the \u003ca href=\"http://www.nytimes.com/2014/11/26/opinion/the-meaning-of-the-ferguson-riots.html?_r=0\">\u003cem>New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As one who’s documented struggles of oppressed peoples both at home and abroad since the early 1960s, Blankfort echoes the similarities. “The photographs of U.S. military vehicles with Ferguson police on top as snipers was a horrifying scene, but this is what Palestinians see all the time,” Blankfort says. “Both groups feel that their lives don’t matter to those who oppress them.”\u003c/p>\n\u003cp>When Blankfort was given the opportunity to show his work at the \u003ca href=\"http://www.aaacc.org/index.php\">African American Art & Culture Complex\u003c/a> (AAACC) for Black History Month, he chose photographs of both the Black Panthers and Palestinian refugee camps. In the exhibit, \u003cem>Fight the Power\u003c/em>, his documentation of Black Panthers protests in the 1960s and Palestinian life in Lebanon, Jordan and occupied Palestine from 1970 to 2004 elucidate the historical similarities of today’s conflicts in Ferguson and Gaza.\u003c/p>\n\u003cfigure id=\"attachment_10368144\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/SealeBrando.jpg\" alt=\"Bobby Seale and Marlon Brando at the at the memorial for Bobby Hutton, April 12, 1968, at Merritt Park in Oakland. (Photo: Jeffrey Blankfort)\" width=\"640\" height=\"425\" class=\"size-full wp-image-10368144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/SealeBrando.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/SealeBrando-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale and Marlon Brando at the at the memorial for Bobby Hutton, April 12, 1968, at Merritt Park in Oakland. (Photo: Jeffrey Blankfort)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Fight the Power\u003c/i> opens on Friday, Feb. 6th with a reception from 6-8pm in the Sargent Johnson Gallery of the AAACC in San Francisco. Afterward, a panel discussion on Ferguson and Gaza takes place in the AAACC theater with former Black Panther Billy X Jennings, Executive Director of the Arab Resource Organizing Center Lara Kiswani, ED.D Educational Leadership Dr. Rama Kased, and Executive Director of the AAACC Mohammed Bilal. Blankfort’s exhibit runs through Feb. 28. Visit the \u003ca href=\"http://www.aaacc.org/index.html\">AAACC website\u003c/a> for more information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When old revolutionary firebrands get together after a long time, you can expect some sparks to fly. That’s certainly the case in \u003cem>Party People\u003c/em>, the play by New York theater trio UNIVERSES now playing at the Berkeley Repertory Theatre. Members of the Black Panther Party and their Puerto Rican counterpart from the 1960s, the Young Lords Party, are brought together decades later by members of the next generation — a couple of self-styled artists creating a happening that’s part photo exhibit, part video installation, part performance and part reunion party. But the radicals went their separate ways for a reason all those years ago, and seeing each other again brings up all kinds of unfinished business and battle scars. And the young political dilettantes’ cluelessness about what it’s like to put your life on the line to fight for your rights brings tensions even higher.\u003c/p>\n\u003cp>Though \u003cem>Party People\u003c/em> was commissioned by the Oregon Shakespeare Festival as part of its \u003cem>American Revolutions: The United States History Cycle\u003c/em> (the same series that gave us \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/06/06/cal_shakes_american_night_is_juan_in_a_million/\" target=\"_blank\" rel=\"noopener\">American Night\u003c/a>\u003c/em> at California Shakespeare Theater and \u003cem>\u003ca href=\"http://theidiolect.com/theater/fathers-sons/\" target=\"_blank\" rel=\"noopener\">Ghost Light\u003c/a>\u003c/em> at Berkeley Rep) and premiered in Ashland in 2012, its Berkeley run could be considered a homecoming. The play was developed in the Rep’s new works program, the Ground Floor, and it’s been directed all along by the theater’s new associate director, Liesl Tommy. But more to the point, the Black Panther Party started in Oakland, so it’s really about hometown history — at least in part.\u003c/p>\n\u003cp>Oddly enough, the local angle is hardly even mentioned in the play itself. I’m not sure it’s ever established where the story’s set, but it definitely has a New York downtown vibe, and not at all a Bay Area one.\u003c/p>\n\u003cfigure id=\"attachment_10144597\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople1.jpg\" alt=\"Steven Sapp in <i>Party People</i>.\" width=\"800\" height=\"532\" class=\"size-full wp-image-10144597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople1-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Sapp in \u003ci>Party People\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>Marcus Doshi’s two-story set features a striking upper level of brick walls painted with a Black Panther graffiti-style mural, while the ground floor is oddly backed by a chintzy tinsel curtain. A giant sign reading “Revolution!” hangs high above the stage in lighted cursive letters. Hanging all over are screens showing Alexander V. Nichols’ video of what’s going on onstage from various angles.\u003c/p>\n\u003cp>As played by Christopher Livingston, young filmmaker and “Panther cub” Malik comes off more like Mark from \u003cem>Rent\u003c/em> than a young Spike Lee. But as risible as it is when he talks about practicing his defiant scowl in the mirror as a wannabe revolutionary, his account of trying to connect with and live up to his long-incarcerated Black Panther father is touching. “I’ve got a prison-industrial complex—I can’t shake it,” Malik says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fellow youngblood Jimmy’s family connection to the Young Lords (if any) is unclear, but his role in the event is to generally “bring the party” through his hip hop “persona non grata” as Primo, prancing around in a ludicrous jester’s outfit (costumed by Meg Neville) and jeering at his elders that their revolution failed. His clownish provocateur persona is deeply annoying, and it’s amazing that the old radicals actually put up with his self-indulgent antics. But when Jimmy is being himself, he spits out some powerful, propulsive and resonant raps.\u003c/p>\n\u003cp>Jimmy is played by William Ruiz, aka Ninja, one of the trio that wrote the piece. The others are his sister Mildred Ruiz-Sapp, who plays a well-grounded elder Young Lord still nursing resentments from schisms within the movement; and her husband Steven Sapp, portraying an ultraserious veteran Panther with post-traumatic stress disorder.\u003c/p>\n\u003cfigure id=\"attachment_10144598\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople5.jpg\" alt=\"Christopher Livingston in Party People.\" width=\"800\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople5-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople5-428x600.jpg 428w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christopher Livingston in \u003ci>Party People\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>Generally speaking, the younger generation gets a bad rap in this piece. They’re either clueless poseurs like the event organizers or resentful of everything their elders sacrificed, including their kids’ happiness. Amy Lizardo embodies the latter perspective touchingly as an embittered orphan who feels that her parents chose revolution over her.\u003c/p>\n\u003cp>Robynn Rodriguez and J. Bernard Calloway share a powerful scene as the furious widow of a police officer and the Panther who spent 25 years in prison for killing him before his conviction was overturned. C. Kelly Wright is a fierce and uncompromising revolutionary, and Sophia Ramos is formidable as a Young Lords leader suspected of being a spy. Jesse J. Perez is an avuncular old activist understandably apprehensive about seeing his old comrades.\u003c/p>\n\u003cp>Michael Elich rattles on amusingly as Marcus, a Young Lord who gets paranoid about something as simple as someone he knows calling from an unexpected phone number, but he’s chilling in a separate role as a straitlaced FBI agent sending informers to infiltrate and sabotage the groups. Reggie D. White is downright heartbreaking as one of those moles, singing soulfully about his agonizing guilt.\u003c/p>\n\u003cp>Singing and dancing is pretty much a constant in the piece. The cast of a dozen actors, half of whom were in the original production, keep in near-constant motion in Millicent Johnnie’s intense choreography, to sound designers/composers Broken Chord’s powerful, propulsive mix of hip-hop, salsa, funk, R&B, gospel, folk, work songs, and pretty much everything else. Often a familiar chorus from the Temptations, Bob Dylan, Grandmaster Flash or the Steve Miller Band will be woven into a song.\u003c/p>\n\u003cp>There’s a lot of poetry being recited, rhyming dialogue, zooming through the history of the movement(s), and thematic riffs on the challenges they faced, whether from saboteurs sowing suspicion or from drugs and misogyny. In fact, it’s a good 20 minutes before the main story starts at all.\u003c/p>\n\u003cp>The play treats the Panthers and the Young Lords interchangeably, and the bits of actual history that we get are told in such a mad whirl that it’s only possible to glean bits and pieces and general impressions. There’s a sense of running around trying to cover all the bases, making the play feel disjointed and overlong at two hours and 40 minutes. But it’s also filled with poignant, inspiring, heartbreaking and rousing moments. Talking about how she felt forced into activism by the hypocrisy and injustice she saw in society, Ruiz-Sapp’s Helita says, “That does not make me exceptional. It just makes me a person of conscience. A revolutionary.”\u003c/p>\n\u003cp>\u003cem>Party People\u003c/em> runs through November 16, 2014 at Berkeley Repertory Theatre in Berkeley. For \u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos courtesy of kevinberne.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When old revolutionary firebrands get together after a long time, you can expect some sparks to fly. That’s certainly the case in \u003cem>Party People\u003c/em>, the play by New York theater trio UNIVERSES now playing at the Berkeley Repertory Theatre. Members of the Black Panther Party and their Puerto Rican counterpart from the 1960s, the Young Lords Party, are brought together decades later by members of the next generation — a couple of self-styled artists creating a happening that’s part photo exhibit, part video installation, part performance and part reunion party. But the radicals went their separate ways for a reason all those years ago, and seeing each other again brings up all kinds of unfinished business and battle scars. And the young political dilettantes’ cluelessness about what it’s like to put your life on the line to fight for your rights brings tensions even higher.\u003c/p>\n\u003cp>Though \u003cem>Party People\u003c/em> was commissioned by the Oregon Shakespeare Festival as part of its \u003cem>American Revolutions: The United States History Cycle\u003c/em> (the same series that gave us \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/06/06/cal_shakes_american_night_is_juan_in_a_million/\" target=\"_blank\" rel=\"noopener\">American Night\u003c/a>\u003c/em> at California Shakespeare Theater and \u003cem>\u003ca href=\"http://theidiolect.com/theater/fathers-sons/\" target=\"_blank\" rel=\"noopener\">Ghost Light\u003c/a>\u003c/em> at Berkeley Rep) and premiered in Ashland in 2012, its Berkeley run could be considered a homecoming. The play was developed in the Rep’s new works program, the Ground Floor, and it’s been directed all along by the theater’s new associate director, Liesl Tommy. But more to the point, the Black Panther Party started in Oakland, so it’s really about hometown history — at least in part.\u003c/p>\n\u003cp>Oddly enough, the local angle is hardly even mentioned in the play itself. I’m not sure it’s ever established where the story’s set, but it definitely has a New York downtown vibe, and not at all a Bay Area one.\u003c/p>\n\u003cfigure id=\"attachment_10144597\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople1.jpg\" alt=\"Steven Sapp in <i>Party People</i>.\" width=\"800\" height=\"532\" class=\"size-full wp-image-10144597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople1-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Sapp in \u003ci>Party People\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>Marcus Doshi’s two-story set features a striking upper level of brick walls painted with a Black Panther graffiti-style mural, while the ground floor is oddly backed by a chintzy tinsel curtain. A giant sign reading “Revolution!” hangs high above the stage in lighted cursive letters. Hanging all over are screens showing Alexander V. Nichols’ video of what’s going on onstage from various angles.\u003c/p>\n\u003cp>As played by Christopher Livingston, young filmmaker and “Panther cub” Malik comes off more like Mark from \u003cem>Rent\u003c/em> than a young Spike Lee. But as risible as it is when he talks about practicing his defiant scowl in the mirror as a wannabe revolutionary, his account of trying to connect with and live up to his long-incarcerated Black Panther father is touching. “I’ve got a prison-industrial complex—I can’t shake it,” Malik says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fellow youngblood Jimmy’s family connection to the Young Lords (if any) is unclear, but his role in the event is to generally “bring the party” through his hip hop “persona non grata” as Primo, prancing around in a ludicrous jester’s outfit (costumed by Meg Neville) and jeering at his elders that their revolution failed. His clownish provocateur persona is deeply annoying, and it’s amazing that the old radicals actually put up with his self-indulgent antics. But when Jimmy is being himself, he spits out some powerful, propulsive and resonant raps.\u003c/p>\n\u003cp>Jimmy is played by William Ruiz, aka Ninja, one of the trio that wrote the piece. The others are his sister Mildred Ruiz-Sapp, who plays a well-grounded elder Young Lord still nursing resentments from schisms within the movement; and her husband Steven Sapp, portraying an ultraserious veteran Panther with post-traumatic stress disorder.\u003c/p>\n\u003cfigure id=\"attachment_10144598\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople5.jpg\" alt=\"Christopher Livingston in Party People.\" width=\"800\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople5-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople5-428x600.jpg 428w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christopher Livingston in \u003ci>Party People\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>Generally speaking, the younger generation gets a bad rap in this piece. They’re either clueless poseurs like the event organizers or resentful of everything their elders sacrificed, including their kids’ happiness. Amy Lizardo embodies the latter perspective touchingly as an embittered orphan who feels that her parents chose revolution over her.\u003c/p>\n\u003cp>Robynn Rodriguez and J. Bernard Calloway share a powerful scene as the furious widow of a police officer and the Panther who spent 25 years in prison for killing him before his conviction was overturned. C. Kelly Wright is a fierce and uncompromising revolutionary, and Sophia Ramos is formidable as a Young Lords leader suspected of being a spy. Jesse J. Perez is an avuncular old activist understandably apprehensive about seeing his old comrades.\u003c/p>\n\u003cp>Michael Elich rattles on amusingly as Marcus, a Young Lord who gets paranoid about something as simple as someone he knows calling from an unexpected phone number, but he’s chilling in a separate role as a straitlaced FBI agent sending informers to infiltrate and sabotage the groups. Reggie D. White is downright heartbreaking as one of those moles, singing soulfully about his agonizing guilt.\u003c/p>\n\u003cp>Singing and dancing is pretty much a constant in the piece. The cast of a dozen actors, half of whom were in the original production, keep in near-constant motion in Millicent Johnnie’s intense choreography, to sound designers/composers Broken Chord’s powerful, propulsive mix of hip-hop, salsa, funk, R&B, gospel, folk, work songs, and pretty much everything else. Often a familiar chorus from the Temptations, Bob Dylan, Grandmaster Flash or the Steve Miller Band will be woven into a song.\u003c/p>\n\u003cp>There’s a lot of poetry being recited, rhyming dialogue, zooming through the history of the movement(s), and thematic riffs on the challenges they faced, whether from saboteurs sowing suspicion or from drugs and misogyny. In fact, it’s a good 20 minutes before the main story starts at all.\u003c/p>\n\u003cp>The play treats the Panthers and the Young Lords interchangeably, and the bits of actual history that we get are told in such a mad whirl that it’s only possible to glean bits and pieces and general impressions. There’s a sense of running around trying to cover all the bases, making the play feel disjointed and overlong at two hours and 40 minutes. But it’s also filled with poignant, inspiring, heartbreaking and rousing moments. Talking about how she felt forced into activism by the hypocrisy and injustice she saw in society, Ruiz-Sapp’s Helita says, “That does not make me exceptional. It just makes me a person of conscience. A revolutionary.”\u003c/p>\n\u003cp>\u003cem>Party People\u003c/em> runs through November 16, 2014 at Berkeley Repertory Theatre in Berkeley. For \u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All photos courtesy of kevinberne.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jeffrey Blankfort Celebrates 80th Birthday by Putting His Historic Bay Area Photos Online",
"headTitle": "Jeffrey Blankfort Celebrates 80th Birthday by Putting His Historic Bay Area Photos Online | KQED",
"content": "\u003cp>“Look at this guy wearing white bucks! He’s got white bucks on and the cops are dragging him away by the leg” exclaims \u003ca href=\"http://www.stephenehret.com/\" target=\"_blank\" rel=\"noopener\">Stephen Ehret\u003c/a>, chuckling to himself as he clicks on a photograph of a 1964 San Francisco sit-in. “That’s a great picture. We need to get that up on the website,” Ehret observes.\u003c/p>\n\u003cp>Jeffrey Blankfort, whose photograph we have been discussing, turns to me and says, “See? This is what happens; there are too many photographs to choose from.”\u003c/p>\n\u003cfigure id=\"attachment_10140560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-caddy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-caddy.jpg\" alt=\"1964 sit-in at a Cadillac dealer in San Francisco; Photo by Jeffrey Blankfort\" width=\"640\" height=\"501\" class=\"size-full wp-image-10140560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-caddy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-caddy-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-caddy-300x234.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1964 sit-in at a Cadillac dealer in San Francisco; Photo by Jeffrey Blankfort\u003c/figcaption>\u003c/figure>\n\u003cp>We’re sitting in Ehret’s \u003ca href=\"http://www.icbbuilding.com/\" target=\"_blank\" rel=\"noopener\">Sausalito art studio\u003c/a> among large-scale paintings of California landscapes. Ehret uploads scanned images to his friend’s online portfolio, which went live for the first time this year in honor of Blankfort’s 80th birthday.\u003c/p>\n\u003cp>As Ehret clicks, Blankfort regales me with stories of his photographic adventures, “You’ve got to tell me when to stop, I could go on forever,” Blankfort laughs.\u003c/p>\n\u003cp>In the early 1960s, “before anybody had long hair,” Blankfort got his start as a photojournalist by documenting San Francisco sit-ins. These \u003ca href=\"http://www.naacp.org/\" target=\"_blank\" rel=\"noopener\">NAACP\u003c/a> demonstrations, like the one the buck-clad protester attended at the former Cadillac Agency on Van Ness, were a part of a critical effort to end racist hiring practices in the city, not only at car dealerships but also at hotels and restaurants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are kids that go to school in the city and don’t know anything about the sit-ins. It’s a crime,” says Blankfort. This outrage drives Blankfort to share his photographs with the next generation to fill in the gaps in what he calls “sanitized history.”\u003c/p>\n\u003cp>Since the beginning of his career, Blankfort’s photographs have been shown in galleries and published in periodicals, books and retrospectives around the world. After getting his teaching credential later in life, Blankfort discovered his photographs could take on new significance in the classroom.\u003c/p>\n\u003cp>At \u003ca href=\"http://www.wccusd.net/richmond\" target=\"_blank\" rel=\"noopener\">Richmond High School\u003c/a>, Blankfort’s pictures of \u003ca href=\"http://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">the Black Panthers\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Brown_Berets\" target=\"_blank\" rel=\"noopener\">the Brown Berets\u003c/a> bridged the gap between history and modern struggles for many of his African-American and Latino students.\u003c/p>\n\u003cfigure id=\"attachment_10140561\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-panthers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-panthers.jpg\" alt=\"Brown Berets and Black Panthers in Oakland, 1968; Photo by Jeffrey Blankfort\" width=\"640\" height=\"427\" class=\"size-full wp-image-10140561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-panthers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-panthers-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-panthers-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brown Berets and Black Panthers in Oakland, 1968; Photo by Jeffrey Blankfort\u003c/figcaption>\u003c/figure>\n\u003cp>Blankfort says, “The black students did not want to hear about Martin Luther King, but when I talked to them about the Black Panthers, some of them had family in the Panthers, and suddenly they wanted to listen. And the attitude of the class changed so much when I would bring my photographs in. They didn’t relate to the South, they related to what went on in the Bay Area.”\u003c/p>\n\u003cp>For the past three years, Blankfort has worked with artist Stephen Ehret and educator \u003ca href=\"http://www.allmindsmatter.com/About.aspx\" target=\"_blank\" rel=\"noopener\">Caitlin Hoffman\u003c/a> to organize his countless photographs into a digital portfolio. The next step is to create more educational presentations that Blankfort can take to local campuses where students can benefit from his historical knowledge and first-hand accounts.\u003c/p>\n\u003cp>“Every student should know that until 1964 the Bay Area was just as racist as the South,” says Blankfort. Even today, Blankfort believes the Bay Area still has a long way to go towards attaining true equality.\u003c/p>\n\u003cp>Born in 1934, Blankfort feels lucky to have grown up in a progressive household during a troubled era. His father worked as a screenwriter in Hollywood and produced the first African-American musical, \u003ca href=\"http://indianapublicmedia.org/nightlights/jump-for-joy-duke-ellingtons-celebratory-musical/\" target=\"_blank\" rel=\"noopener\">\u003ci>Jump for Joy\u003c/i>\u003c/a>, starring \u003ca href=\"http://en.wikipedia.org/wiki/Duke_Ellington\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>. He ended up blacklisted and struggled to support his family without compromising his politics. Blankfort says, “My father was a very principled person, as was my mother and I got a lot inspiration from them. They taught me not to keep a set of double books in life. If you have parents like that you know you can’t sell out.”\u003c/p>\n\u003cp>Identifying as an independent leftist, Blankfort puts his politics before his career, although they often intersect. Arrested five times — but never convicted — Blankfort was on a first name basis with some local police. Attending protests equipped with a helmet, a gas mask and his camera, Blankfort quickly learned how to pre-focus his camera so he could be ready at a moment’s notice. More than a few of his photographs were used to absolve the wrongfully accused or to provide restitution for the abused.\u003c/p>\n\u003cp>In many cases, there would be no historical record of these events if Blankfort had not been there with his camera. “Today everyone has a cell phone camera, but there weren’t as many photographers at the time,” he says. \u003c/p>\n\u003cp>After traveling to Europe, Africa and the Middle East, Blankfort maintains that it is San Francisco in the early ’60s that truly stole his heart — and for keeps. He remembers the exact moment when he realized he had to live in San Francisco: It was while walking to the waterfront from \u003ca href=\"http://en.wikipedia.org/wiki/Telegraph_Hill,_San_Francisco\" target=\"_blank\" rel=\"noopener\">Telegraph Hill\u003c/a> when he discovered someone playing bagpipes in their car at two o’clock in the morning.\u003c/p>\n\u003cfigure id=\"attachment_10140562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-window.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-window.jpg\" alt=\"1965 protest in Oakland; Photo by Jeffrey Blankfort\" width=\"640\" height=\"440\" class=\"size-full wp-image-10140562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-window.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-window-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-window-300x206.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1965 protest in Oakland; Photo by Jeffrey Blankfort\u003c/figcaption>\u003c/figure>\n\u003cp>In fact if it weren’t for San Francisco, Blankfort believes he never could have become a professional photographer. Thanks to what is now known as the \u003ca href=\"http://harveymilkphotocenter.org/\" target=\"_blank\" rel=\"noopener\">Harvey Milk Photography Center\u003c/a>, Blankfort was able to learn how to use a darkroom through observation and trial and error. In the early ’60s the scene in Sausalito was the center of his artistic career and the Bay Area remains his home base. He still recognizes familiar faces while grabbing a bite to eat at what used to be one of his favorite coffee houses, and greets another local, Arthur Sheradan, with a fist bump. Blankfort explains, “He was one of the leaders of the 1965 anti-war march from Berkeley to Oakland.”\u003c/p>\n\u003cp>But it’s the faces he no longer sees that remind Blankfort that many of his contemporaries are no longer with us. He recently attended the memorial for the influential Bay Area activist, \u003ca href=\"http://en.wikipedia.org/wiki/Yuri_Kochiyama\" target=\"_blank\" rel=\"noopener\">Yuri Kochiyama\u003c/a>, who held the dying \u003ca href=\"http://en.wikipedia.org/wiki/Malcolm_X\" target=\"_blank\" rel=\"noopener\">Malcolm X\u003c/a> in her arms. “I’ve led — I think — a very privileged life. I’ve been fortunate enough to have had all these experiences and met a lot of amazing people along the way — some famous and many not — and been in the right places at the right times,” Blankfort adds, “and I’m still here!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Browse \u003ca href=\"http://jeffblankfortphotography.com/index.html\" target=\"_blank\" rel=\"noopener\">30 different galleries of Blankfort’s photography\u003c/a> now available on his website jeffblankfortphotography.com. You can also contact Blankfort from the site to inquire about educational presentations.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Look at this guy wearing white bucks! He’s got white bucks on and the cops are dragging him away by the leg” exclaims \u003ca href=\"http://www.stephenehret.com/\" target=\"_blank\" rel=\"noopener\">Stephen Ehret\u003c/a>, chuckling to himself as he clicks on a photograph of a 1964 San Francisco sit-in. “That’s a great picture. We need to get that up on the website,” Ehret observes.\u003c/p>\n\u003cp>Jeffrey Blankfort, whose photograph we have been discussing, turns to me and says, “See? This is what happens; there are too many photographs to choose from.”\u003c/p>\n\u003cfigure id=\"attachment_10140560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-caddy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-caddy.jpg\" alt=\"1964 sit-in at a Cadillac dealer in San Francisco; Photo by Jeffrey Blankfort\" width=\"640\" height=\"501\" class=\"size-full wp-image-10140560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-caddy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-caddy-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-caddy-300x234.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1964 sit-in at a Cadillac dealer in San Francisco; Photo by Jeffrey Blankfort\u003c/figcaption>\u003c/figure>\n\u003cp>We’re sitting in Ehret’s \u003ca href=\"http://www.icbbuilding.com/\" target=\"_blank\" rel=\"noopener\">Sausalito art studio\u003c/a> among large-scale paintings of California landscapes. Ehret uploads scanned images to his friend’s online portfolio, which went live for the first time this year in honor of Blankfort’s 80th birthday.\u003c/p>\n\u003cp>As Ehret clicks, Blankfort regales me with stories of his photographic adventures, “You’ve got to tell me when to stop, I could go on forever,” Blankfort laughs.\u003c/p>\n\u003cp>In the early 1960s, “before anybody had long hair,” Blankfort got his start as a photojournalist by documenting San Francisco sit-ins. These \u003ca href=\"http://www.naacp.org/\" target=\"_blank\" rel=\"noopener\">NAACP\u003c/a> demonstrations, like the one the buck-clad protester attended at the former Cadillac Agency on Van Ness, were a part of a critical effort to end racist hiring practices in the city, not only at car dealerships but also at hotels and restaurants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are kids that go to school in the city and don’t know anything about the sit-ins. It’s a crime,” says Blankfort. This outrage drives Blankfort to share his photographs with the next generation to fill in the gaps in what he calls “sanitized history.”\u003c/p>\n\u003cp>Since the beginning of his career, Blankfort’s photographs have been shown in galleries and published in periodicals, books and retrospectives around the world. After getting his teaching credential later in life, Blankfort discovered his photographs could take on new significance in the classroom.\u003c/p>\n\u003cp>At \u003ca href=\"http://www.wccusd.net/richmond\" target=\"_blank\" rel=\"noopener\">Richmond High School\u003c/a>, Blankfort’s pictures of \u003ca href=\"http://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">the Black Panthers\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Brown_Berets\" target=\"_blank\" rel=\"noopener\">the Brown Berets\u003c/a> bridged the gap between history and modern struggles for many of his African-American and Latino students.\u003c/p>\n\u003cfigure id=\"attachment_10140561\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-panthers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-panthers.jpg\" alt=\"Brown Berets and Black Panthers in Oakland, 1968; Photo by Jeffrey Blankfort\" width=\"640\" height=\"427\" class=\"size-full wp-image-10140561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-panthers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-panthers-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-panthers-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brown Berets and Black Panthers in Oakland, 1968; Photo by Jeffrey Blankfort\u003c/figcaption>\u003c/figure>\n\u003cp>Blankfort says, “The black students did not want to hear about Martin Luther King, but when I talked to them about the Black Panthers, some of them had family in the Panthers, and suddenly they wanted to listen. And the attitude of the class changed so much when I would bring my photographs in. They didn’t relate to the South, they related to what went on in the Bay Area.”\u003c/p>\n\u003cp>For the past three years, Blankfort has worked with artist Stephen Ehret and educator \u003ca href=\"http://www.allmindsmatter.com/About.aspx\" target=\"_blank\" rel=\"noopener\">Caitlin Hoffman\u003c/a> to organize his countless photographs into a digital portfolio. The next step is to create more educational presentations that Blankfort can take to local campuses where students can benefit from his historical knowledge and first-hand accounts.\u003c/p>\n\u003cp>“Every student should know that until 1964 the Bay Area was just as racist as the South,” says Blankfort. Even today, Blankfort believes the Bay Area still has a long way to go towards attaining true equality.\u003c/p>\n\u003cp>Born in 1934, Blankfort feels lucky to have grown up in a progressive household during a troubled era. His father worked as a screenwriter in Hollywood and produced the first African-American musical, \u003ca href=\"http://indianapublicmedia.org/nightlights/jump-for-joy-duke-ellingtons-celebratory-musical/\" target=\"_blank\" rel=\"noopener\">\u003ci>Jump for Joy\u003c/i>\u003c/a>, starring \u003ca href=\"http://en.wikipedia.org/wiki/Duke_Ellington\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>. He ended up blacklisted and struggled to support his family without compromising his politics. Blankfort says, “My father was a very principled person, as was my mother and I got a lot inspiration from them. They taught me not to keep a set of double books in life. If you have parents like that you know you can’t sell out.”\u003c/p>\n\u003cp>Identifying as an independent leftist, Blankfort puts his politics before his career, although they often intersect. Arrested five times — but never convicted — Blankfort was on a first name basis with some local police. Attending protests equipped with a helmet, a gas mask and his camera, Blankfort quickly learned how to pre-focus his camera so he could be ready at a moment’s notice. More than a few of his photographs were used to absolve the wrongfully accused or to provide restitution for the abused.\u003c/p>\n\u003cp>In many cases, there would be no historical record of these events if Blankfort had not been there with his camera. “Today everyone has a cell phone camera, but there weren’t as many photographers at the time,” he says. \u003c/p>\n\u003cp>After traveling to Europe, Africa and the Middle East, Blankfort maintains that it is San Francisco in the early ’60s that truly stole his heart — and for keeps. He remembers the exact moment when he realized he had to live in San Francisco: It was while walking to the waterfront from \u003ca href=\"http://en.wikipedia.org/wiki/Telegraph_Hill,_San_Francisco\" target=\"_blank\" rel=\"noopener\">Telegraph Hill\u003c/a> when he discovered someone playing bagpipes in their car at two o’clock in the morning.\u003c/p>\n\u003cfigure id=\"attachment_10140562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-window.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/blankfort-window.jpg\" alt=\"1965 protest in Oakland; Photo by Jeffrey Blankfort\" width=\"640\" height=\"440\" class=\"size-full wp-image-10140562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-window.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-window-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/blankfort-window-300x206.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1965 protest in Oakland; Photo by Jeffrey Blankfort\u003c/figcaption>\u003c/figure>\n\u003cp>In fact if it weren’t for San Francisco, Blankfort believes he never could have become a professional photographer. Thanks to what is now known as the \u003ca href=\"http://harveymilkphotocenter.org/\" target=\"_blank\" rel=\"noopener\">Harvey Milk Photography Center\u003c/a>, Blankfort was able to learn how to use a darkroom through observation and trial and error. In the early ’60s the scene in Sausalito was the center of his artistic career and the Bay Area remains his home base. He still recognizes familiar faces while grabbing a bite to eat at what used to be one of his favorite coffee houses, and greets another local, Arthur Sheradan, with a fist bump. Blankfort explains, “He was one of the leaders of the 1965 anti-war march from Berkeley to Oakland.”\u003c/p>\n\u003cp>But it’s the faces he no longer sees that remind Blankfort that many of his contemporaries are no longer with us. He recently attended the memorial for the influential Bay Area activist, \u003ca href=\"http://en.wikipedia.org/wiki/Yuri_Kochiyama\" target=\"_blank\" rel=\"noopener\">Yuri Kochiyama\u003c/a>, who held the dying \u003ca href=\"http://en.wikipedia.org/wiki/Malcolm_X\" target=\"_blank\" rel=\"noopener\">Malcolm X\u003c/a> in her arms. “I’ve led — I think — a very privileged life. I’ve been fortunate enough to have had all these experiences and met a lot of amazing people along the way — some famous and many not — and been in the right places at the right times,” Blankfort adds, “and I’m still here!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Browse \u003ca href=\"http://jeffblankfortphotography.com/index.html\" target=\"_blank\" rel=\"noopener\">30 different galleries of Blankfort’s photography\u003c/a> now available on his website jeffblankfortphotography.com. You can also contact Blankfort from the site to inquire about educational presentations.\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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"marketplace": {
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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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "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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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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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": {
"id": "science-friday",
"title": "Science Friday",
"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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},
"snap-judgment": {
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