A Trojan Horse of Funk and Soul: The Story of the Black Panthers House Band
Hop in, Your Lyft Rapper Has Arrived
Gentrification and Climate Change Meet at 'The North Pole'
What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On
Lessons From Growing Up as a Black Panther 'Cub'
Lowell Bergman: Covering the Rise and Fall of the Black Panther Party
Preserving the History of the Black Panthers Close to Home
Man Who Armed Black Panthers Was FBI Informant, Records Show
Sponsored
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They were called the Lumpen. And although they quickly gained a following for their air-tight funk and striking lyrics, they were always meant to be much more than mere entertainment.\u003c/p>\n\u003cp>Where other bands of their era were content to coast on good vibes, the Lumpen\u003cstrong> \u003c/strong>were out to preach a message of revolution in places where that message wasn’t always wanted. They were a musical cadre whose mission was to spread the seed of social revolution, armed with funk, attitude and matching outfits.\u003c/p>\n\u003cp>In 1973, Michael Torrence is a 22-year-old Black Panther. He’s dedicated himself to the cause and obeyed every command. He’s a true soldier.\u003c/p>\n\u003cp>“We were definitely as hardcore as anybody cause we dropped everything to come,” says Torrence. “We didn’t join to sing. We joined to be revolutionaries. We joined to make the revolution. We joined … to be Panthers!”\u003c/p>\n\u003cp>But five years of complete devotion to the Panthers has taken a toll. Now, Torrence is desperate to focus on his personal life, just for a while.\u003c/p>\n\u003cp>But to do this, he needs to get permission and it's got to come from the top.\u003c/p>\n\u003cfigure id=\"attachment_11730261\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11730261\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg\" alt=\"When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat.\" width=\"800\" height=\"475\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-160x95.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-1020x605.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-1200x712.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Torrence shows up at the Lamp Post — it’s a bar in West Oakland — where Panther leader Bobby Seale is having a birthday party. The two men huddle in a corner and talk for a while, but it’s all good.\u003c/p>\n\u003cp>Seale gives Torrence his blessing for some leave time.\u003c/p>\n\u003cp>Torrence is relieved. But as he’s making his way out of the bar, someone tells him that Huey Newton wants to see him. And he wants to see him now.\u003c/p>\n\u003cp>Newton is Seale’s comrade and co-founder of the Panthers. For years, Newton has been a strong and charismatic leader. But recently his moods have been unstable. Tonight, for whatever reason, he’s agitated.\u003c/p>\n\u003cp>Torrence is ushered into a chair in a back room. And there, flanked by a couple enforcers, is Newton.\u003c/p>\n\u003cp>“And he says, ‘Comrade, I hear you want to leave us. Well, do you want to leave bad enough to die? Do you really want to leave bad enough to die?' I don’t understand the question,” Torrence says. “And [Newton’s enforcer] June takes a gun and puts it to my head. 'Oh no, comrade, I don’t want to die.'\"\u003c/p>\n\u003cp>“He say, ‘Okay. So this is what’s going to happen, you say…’\"\u003c/p>\n\u003cp>Torrence starts to object. Newton isn't having it.\u003c/p>\n\u003cp>\"Would you tell this brother not to talk when I’m talking?\"\u003c/p>\n\u003cp>Torrence gets a swift kick in the mouth.\u003c/p>\n\u003cp>Newton begins again, \"Okay then. So. You say, all power to the people.\"\u003c/p>\n\u003cp>\"All power to the people,” mumbles Torrence.\u003c/p>\n\u003cp>Michael Torrence has just been persuaded to rethink his request for some time off — a pistol to the head is hard to argue with.\u003c/p>\n\u003cfigure id=\"attachment_11828362\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828362\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther and Lumpen member Michael Torrence. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>People Get Ready\u003c/h3>\n\u003cp>By 1973, Torrence’s years with the Panthers have been a rollercoaster life of extremes. Many times he’s picked up a gun.\u003c/p>\n\u003cp>But he’s also picked up a microphone.\u003c/p>\n\u003cp>Though Torrence did not join the Panthers to sing, the movement’s Minister of Culture gave him and three other young soldiers a special assignment for the cause. It was an R&B group called the Lumpen.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Michael Torrence, former member of the Lumpen\"]'You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. '[/pullquote]\u003c/p>\n\u003cp>When it all began in 1970, the Lumpen’s music was explosive. The band was powerful, and so was the message.\u003c/p>\n\u003cp>The Lumpen worked nonstop for the cause, killing it wherever they performed: San Francisco, Los Angeles, New York, Philadelphia and the Midwest.\u003c/p>\n\u003cp>But it only lasted 11 months. Then things in the Black Panther Party began to implode.\u003c/p>\n\u003cp>This is the story of the rise and fall of an unlikely R&B group born out of social upheaval. The Lumpen weren’t out to make hit records, they were out to change American culture.\u003c/p>\n\u003cp>It’s a journey unlike that of any other band.\u003c/p>\n\u003cp>And Michael Torrence was at the center of it.\u003c/p>\n\u003ch3>Rise of the Panthers\u003c/h3>\n\u003cp>In 1966, Huey Newton and Bobby Seale co-found the Black Panther Party. They're both students at Merritt Community College in Oakland.\u003c/p>\n\u003cp>Within a few years, the Party offers educational programs, food service, free medical care and drug rehab to the Black community. And the Panthers are leading the fight against rampant police brutality.\u003c/p>\n\u003cp>By the end of the ‘60s, change is in the air, and the Bay Area is ground zero.\u003c/p>\n\u003cp>“[In] San Francisco at that time, we were in the Fillmore District,” Torrence says. “It was very high-tension. Police were riding, you know, four or five deep. If you were out selling your papers they would come and harass you, snatch your papers, maybe arrest you, threaten you. But at the same time there was a lot of energy. That’s the best thing about it. You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. There was this commitment to die if necessary.”\u003c/p>\n\u003cp>Those papers are the weekly bible of party information, a publication called The Black Panther. And the Howard Quinn Printing Company on Alabama Street is where the Lumpen story begins.\u003c/p>\n\u003cfigure id=\"attachment_11828364\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lumpen singer and former Black Panther James Mott, aka Saturu Ned. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former Lumpen singer James Mott, now known as Saturu Ned, takes up the story.\u003c/p>\n\u003cp>“Wednesday night was distribution night, where we would get out the paper. Everybody would come,\" he said.\u003c/p>\n\u003cp>That's in 1970: He’s newly arrived from the Sacramento Panther chapter.\u003c/p>\n\u003cp>All the future members of the Lumpen are in attendance that Wednesday night: Torrence, Mott — now Saturu, William Calhoun and Clark “Santa Rita” Bailey. They all have musical backgrounds ranging from church choirs to professional-level experience, but when they meet, they’re just loyal young soldiers taking orders along with everybody else.\u003c/p>\n\u003cp>“It was a community gathering in Fillmore,” Saturu says. “At that time, Fillmore is not like it is now, changed, and the gentrification. It was … Fillmore.”\u003c/p>\n\u003cp>“And on those distribution nights when various chapters would all come together from the Bay Area to get the paper out, we would sing,” Torrence says.\u003c/p>\n\u003cp>“And we would sing, at that point, just doo-wop songs,” Saturu recalls. “So one night I went over there and the three of us sang and I joined in. And we started harmonizing. We just blended in so cool!”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Michael Torrence, former member of the Lumpen\"]'If this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do.'[/pullquote]\u003c/p>\n\u003cp>“And then what we began to do was, we’d just put other words to the popular songs. Because we would be singing what we called revolutionary songs to encourage us in the struggle. In terms of the Lumpen, it kinda grew out of that. Just us singing together. Part of, I guess, the tradition of just singin’ while you work,” Torrence says.\u003c/p>\n\u003cp>It’s a typical Wednesday. The four Panthers are at the print shop, stacking and racking and harmonizing into the night. But this time, there’s someone listening: Emory Douglas, the party’s Minister of Culture.\u003c/p>\n\u003cp>“So after I got back to Central [headquarters], Emory comes in and says, ‘Hey brother, comrade James, you know, everybody relates to music.' I say, 'Yeah Emory, they do.' He says, ‘You guys sound good. We could create a group and the group could be part of the Ministry of Culture, where we could be able to get that message out in the music.’”\u003c/p>\n\u003cp>Emory Douglas is the brilliant style guru and visual artist whose iconic posters and flyers helped brand the movement.\u003c/p>\n\u003cp>“I just would make suggestions,” Douglas says. “Possibly adding some social justice context to the lyrics.”\u003c/p>\n\u003cp>At this point, Bobby Seale and Huey Newton are both behind bars. So Douglas approaches Panthers Chief of Staff David Hilliard. He understands the value of spreading the word through music, and he greenlights the project. He also gives the group a name: The Lumpen.\u003c/p>\n\u003cp>It’s a play on Karl Marx’s idea of the lumpenproletariat: the lower class that would rise up to crush the capitalist power structure.\u003c/p>\n\u003cfigure id=\"attachment_11828363\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828363\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Billy X Jennings, friend of the Lumpen members, and fan of the band. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At the time the party was coming about, political education, political awareness, was growing tremendously,” says Billy X Jennings. He’s a former Panther and the party’s long time historian. He was tight with the Lumpen members fifty years ago, and still is to this day.\u003c/p>\n\u003cp>“In 1968, James Brown put out a song that really changed everything, because Black people, prior to that time, referred to themselves as Negro,” Jennings continues. “James Brown came out and said, 'We’re Black and we’re proud.' And once that record come out, you could never go back and say you’re a Negro. You could never go back! James Brown couldn’t have did that in ‘68 if there wasn’t a group like the Black Panther Party that had set up a foundation of knowledge already.”\u003c/p>\n\u003cp>“Emory was recognizing the role of music historically in Black people’s struggle and part of our culture period,” Torrence says. “He began to say, we can do something with this! You guys sound decent together anyway, because we just clicked like that. And so he encouraged us to put something together.\u003c/p>\n\u003cp>“Whatever rehearsal we would do, we would have to do after whatever other assignments or duties we had,” Torrence continues. “So we had to go sell the papers, we had to do the breakfast program, we’d have to do the garbage run, we’d have to do security. We’d have to do whatever it is that any other Panther would do.”\u003c/p>\n\u003cp>From the Panthers’ perspective, The Lumpen was not about show business. It was about contributing to the revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Singing for us was just political work,” Torrence clarifies. “And if they said the next day, ‘Okay, that’s it,’ fine. Cause we didn’t join for that. If I was really about that, I could have been trying to do it out there in the world. I could have been out there trying to get paid. We never got paid, it was just, if this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do. But it was always, we follow orders.”\u003c/p>\n\u003cp>And now, only a few months since they were harmonizing to the oldies at the printing plant, their orders are to get onstage and get to work: Educate the people, spread the word and earn money for the party.\u003c/p>\n\u003cp>The Lumpen assemble a six-piece interracial backing band from local players sympathetic to the cause. They’re called the Freedom Messengers.\u003c/p>\n\u003cp>By the summer of 1970, the group is performing at rallies, community gatherings and Panther events around the Bay Area.\u003c/p>\n\u003cp>And they’re good. They’re tight. It’s a professional show on par with almost any act. They’ve got the energy of James Brown, and the dance moves and harmonies of the Temptations. But the lyrics are all about what the Panthers are all about.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G2llXaUMMqc\u003c/p>\n\u003cp>Bobby Seale has just been arrested in New Haven. The first and only single the group makes is \"Free Bobby Now.\" It’s written by Bill Calhoun, recorded at Tiki Studios in San Jose in August of 1970. Calhoun's song \"No More\" is on the flip side.\u003c/p>\n\u003cp>The record is released on the Panthers’ own Seize the Time label, with credit to Black Panther Party Productions. It’s promoted in the Party newspaper, and sold at live shows and Panther events. Any profits are funneled back into the party.\u003c/p>\n\u003cp>The Lumpen take the single around to Bay Area radio stations, but the lyrics are considered too provocative for airplay. But no one questions the quality of what they’re hearing.\u003c/p>\n\u003cp>“They took the craft seriously,” says Rickey Vincent. He’s the author of \"Party Time: The Inside Story of the Black Panthers’ Band\" and \"How Black Power Transformed Soul Music\". It’s a subject he knows well. His mother was an early Panther.\u003c/p>\n\u003cp>“When they did ‘People Get Ready’ by Curtis Mayfield and The Impressions, they hit those notes that you had to hit that show respect for those aspirations that were in that song in 1964-65. The Lumpen flipped the lyrics, obviously. Instead of saying ‘People get ready there’s a train a’comin’,' they said, ‘People get ready, the revolution’s comin', you don’t need a ticket, you need a loaded gun.’ And it was like, wait a minute, that’s soul music the way it’s supposed to be sung, but those are not lyrics the way we’ve heard them before.”\u003c/p>\n\u003cfigure id=\"attachment_11828372\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg\" alt=\"\" width=\"800\" height=\"1100\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1020x1402.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-160x220.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1117x1536.jpg 1117w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit.jpg 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed a benefit show in Oakland on Oct. 11, 1970. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen start headlining shows. They’re gigging weekly, doing benefits and playing college campuses up and down the West Coast. And when they’re not headlining, they’re on bills with the Grateful Dead, Carla Thomas and Curtis Mayfield.\u003c/p>\n\u003cp>And not only is the music on fire, but the live show takes choreography to a whole ‘nother level.\u003c/p>\n\u003cp>“Once we hit the stage, [it was] nonstop,” Torrence says. “Even mixed in a dance routine where we would act out brothers on the block playing dice, and James Mott would be a cop. He’d come and harass one and he’d be beating this brother up, and he’d be beating him with a club and I’m watching it, and then I’d finally get disgusted and I’d jump on the cop and Clark and I together, we’d beat the cop down. So it wasn’t just the singing, it was the choreography. The whole experience was something they hadn’t seen before.”\u003c/p>\n\u003cp>In the winter of 1970, the band hits the road for a tour of the Midwest and East Coast. The crowds are enthusiastic. But tensions are running high.\u003c/p>\n\u003cp>David Levinson is the Freedom Messengers’ 19-year-old sax player. After a show at the University of Minnesota, a snowstorm is kicking in. The band is packing up their gear when they’re approached by members of the Black Student Union.\u003c/p>\n\u003cp>“I’ll never forget this,” Levinson says. “They invited the Black members of the band to stay with them, but they didn’t want the white members of the band, of which there were two of us.\"\u003c/p>\n\u003cp>“These guys from the student group come out and they look like a military junta,” says Saturu Ned. “[They] got on the black berets and the black boots. I’m like, 'What are you guys doing?' 'Oh, uh, who are those white guys?' 'Excuse me? They’re a part of the Lumpen band.' 'Well, they can’t stay!' We told ’em, 'Look you motherfuckers, we’re not staying if they’re not staying.' I said, 'This is a people’s revolution and these are our brothers that we stand behind.'”\u003c/p>\n\u003cp>Levinson is still close with Saturu and the other former band members. “That’s just a small example of the kind of camaraderie and unity we felt. There never was any racism promoted for or practiced by the Black Panther Party at all.”\u003c/p>\n\u003cfigure id=\"attachment_11828371\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg\" alt=\"\" width=\"800\" height=\"1092\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-1020x1393.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-160x218.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-1125x1536.jpg 1125w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4.jpg 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed at Stanford University on Feb. 17, 1971. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen are also in the crosshairs of the cops wherever they go. Late one night after a college show in New Jersey, the police follow the band down an empty road heading out of town.\u003c/p>\n\u003cp>“They made us get out the car,” Saturu says. “They knew who we were and it was pitch dark where they pulled us over. We were like, this is it. They gonna kill us. There was a general rule back then, go to a lighted area. What they did was, one car got in front of us, slowed down. The other one got right behind us. And they waited for that real dark area to pull us over — this is part of the intimidation, right?\u003c/p>\n\u003cp>“There were four of’em. They was grinnin’. ‘Sing for us!’ So we started singing—what was that song? ‘As we stroll along together…’ They would harass us to let us know, we watching you. We know who you are.”\u003c/p>\n\u003cp>But the Lumpen are battling another force besides the authorities. And it’s coming from within the party.\u003c/p>\n\u003cp>“There were people in the party, some in leadership, some in the rank and file that said, ‘Yeah, these guys [in the Lumpen] think they’re something special,'\" Torrence says.\u003c/p>\n\u003cp>“If it wasn’t for Emory, I don’t think the Lumpen would have came about because Emory is the one who had the juice,” Billy X Jennings emphasizes. “And there was people that wasn’t into the Lumpen. They didn’t think revolutionaries should be doing that kind of thing. But they were older people too, there weren’t R&B people, they were blues people, and during that time there was a difference. Most of the leadership was southern guys. Southern guys like blues. We are young guys, we like R&B. So that’s why [the Lumpen] never really got any more higher than they were because they were always related to as Panthers first.”\u003c/p>\n\u003cp>But that didn’t stop them.\u003c/p>\n\u003ch3>On Fire in Oakland\u003c/h3>\n\u003cp>It’s Nov. 10, 1970, at Merritt College in Oakland. It’s the alma mater of Huey Newton and Bobby Seale. The birthplace of the Black Panther Party. Tonight, to a packed auditorium, the Lumpen will get the message out.\u003c/p>\n\u003cp>Bear in mind: this group has been together for less than a year.\u003c/p>\n\u003cp>While almost everybody else in the San Francisco music scene has been getting high and jamming, the Lumpen have been working as full time revolutionaries, pursued by the police and the FBI.\u003c/p>\n\u003cp>And they still find time to get this group together.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Billy X Jennings, a former Black Panther and the party’s historian\"]'It was one of the best shows in my life because the audience was electrified. ... We were thinking about the same thing — revolution.'[/pullquote]\u003c/p>\n\u003cp>And tonight is special. The show is being recorded for a live album, and the group pulls out all the stops. Billy X Jennings is there with his fist in the air.\u003c/p>\n\u003cp>“It was one of the best shows in my life because the audience was electrified. Once the Lumpen came on and the band start playing, you would hear them repeat something to the crowd and the crowd would throw it back. Like when they say, 'All power to the people,' the crowd would say, 'All power to the people!' with a force! And when they’d say, 'Death to the Fascist pigs,' they’d say, 'Death to fascist pigs!' If you just listen to the people’s feedback alone, you could get high on that. They were killin’ me boy! And even to this day when I hear that, it gives me that revolutionary enthusiasm cause everybody was on the one that night. We were thinking about the same thing — revolution.”\u003c/p>\n\u003cp>The show was an undeniable success… but no album ever appeared.\u003c/p>\n\u003cp>The master tapes made that night went missing, and have never been found. Some have suggested that they were confiscated by the FBI. It’s also possible that they were mislabeled and disappeared in the chaos and discord of the time period. Or they could be decaying in an attic somewhere, long forgotten.\u003c/p>\n\u003cp>Only a grainy, multi-generation cassette of the show has ever surfaced, but it captures the raw power of the band.\u003c/p>\n\u003cfigure id=\"attachment_11828149\" class=\"wp-caption alignnone\" style=\"max-width: 582px\">\u003cimg class=\"size-full wp-image-11828149\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg\" alt=\"\" width=\"582\" height=\"391\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg 582w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2-160x107.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen’s mission was to spread the seed of social revolution. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As 1971 arrives, the Panther Party leadership is in chaos. Bobby Seale is still in prison in New Haven. Eldridge Cleaver, the Minister of Information, has fled to Algeria to escape an attempted murder charge on an Oakland cop. The FBI is working to weaken and target the party through a secret \u003ca href=\"https://www.history.com/topics/civil-rights-movement/black-panthers#section_4\">counterintelligence program.\u003c/a>\u003c/p>\n\u003cp>The party is factionalizing.\u003c/p>\n\u003cp>“Huey’s come back out with some different ideas about how things should go,” Torrence says. “In some cases you got Panther against Panther, whether you with Eldridge division or National Headquarters.\"\u003c/p>\n\u003cp>At this point, Eldridge is strongly promoting violence.\u003c/p>\n\u003cp>“Right,” Torrence says, but “Huey and Bobby were moving toward a survival program. Even we had to change because all of our original songs was about picking up the gun. There was some other things going on internally, in terms of some of the things being done by Huey that I didn’t agree with, I didn’t join for. And it wasn’t about the police. That was the thing that was bad about it. I was never scared about the police. It’s a bad thing when you get more concerned about the people that you work with than you do with the cops.”\u003c/p>\n\u003cp>As the atmosphere within the Party becomes more desperate, interest in the group from those in power dwindles to nothing. The Lumpen members are reassigned. They’re taken off R&B duty and put on security detail. Their days as a group are numbered.\u003c/p>\n\u003cp>“No, it wasn’t justified,” says Emory Douglas of the group's demise. “It could have been worked out, but you know we had people who wanted to exercise their position, as far as being in charge. All those things played into it, petty spitefulness. All that.”\u003c/p>\n\u003cp>As Torrence said earlier, if the day came when the singing had to stop, fine. That day finally came.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Michael Torrence, former member of the Lumpen\"]'We never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.'[/pullquote]\u003c/p>\n\u003cp>“We never thought of ourselves as anything other than Panthers. And the Lumpen was a cadre, a unit for a cultural purpose. We loved it, we enjoyed it, but in the big picture, it’s just another assignment. And so when the situation and circumstances change, then you move on to the next assignment. And we didn’t really have time to mourn about it. Because that’s exactly what happened.\"\u003c/p>\n\u003cp>On May 23, 1971, in Sacramento, the Lumpen play their last gig. A few days later, Bill Calhoun decides to leave the party. He was the group’s songwriter. So only 11 months after it began, the band is done.\u003c/p>\n\u003cp>But the Panther Party is still Michael Torrence’s life. It’s all he’s known since he was a teenager. Which brings us back to that night in 1973 at the bar in West Oakland: The night Torrence talked to Bobby Seale and asked for some time off from the Panthers.\u003c/p>\n\u003cp>“So anyway, I go to Bobby at his birthday party at the Lamp Post and I said, ‘Well, Chairman, I have a daughter. She needs some support. Plus, I’m having these little anxiety attacks that’s affecting my work, it’s affecting my effectiveness. I don’t wanna quit, I don’t wanna leave, but I need some time. Get myself back together, and then I’m coming back. I’m coming back.’ And Bobby was real cool with me on it, you know. And I’m crying. I’m shedding tears.”\u003c/p>\n\u003cp>Torrence is leaving the bar when Huey Newton calls him back upstairs. He says the Party will contribute $50 a month for to support Torrence’s daughter. Then Newton puts a gun to Torrence’s head and says this:\u003c/p>\n\u003cp>“'Okay then,’” Torrence recalls. “'We send fifty dollars, but you say: All power to the people.' All power to the people. So I stuck around.\u003c/p>\n\u003cp>\"And about six months later, one of the guys from Chicago comes by, says, ‘You still wanna go? Cause we can’t afford to pay for your kid no more. So you can go, you can leave now.’ OK. Well, all right then. Power to the people now.”\u003c/p>\n\u003cp>And that’s it. Michael Torrence is out of the Black Panthers.\u003c/p>\n\u003cp>[aside tag=\"black-panthers\" label=\"Related coverage\"]\u003c/p>\n\u003cp>“And it was traumatic,” he says. “What was traumatic for me was leaving. What was traumatic was what it had become.\"\u003c/p>\n\u003cp>Did he feel betrayed?\u003c/p>\n\u003cp>“Yes! Absolutely. Betrayed, angry, bitter, frustrated. Yes. It took me a while to get back to what they call livin’ in the world. 'Cause the Party was my world. You ask me what I was, I was a Panther. That’s what I was and who I was. And then to lose that ... and try and adjust to out being here, and get a job. What am I gonna put on my resume? Where you been the last five years?”\u003c/p>\n\u003cp>But Torrence did have something on his resume that worked outside of the revolution: The Lumpen. It got him a job.\u003c/p>\n\u003cp>Torrence wound up singing behind Marvin Gaye, and he appeared on the singer’s 1974 album, “Marvin Gaye Live!” It was recorded just a few miles away from where the Lumpen recorded their own live album just four years earlier, in Oakland.\u003c/p>\n\u003cp>Torrence went on to write, produce and sing for other artists for the rest of the 1970s.\u003c/p>\n\u003cp>Though he parted ways with the Panthers almost 50 years ago, it’s still part of him.\u003c/p>\n\u003cp>“As far as the Black Panther Party’s concerned, I don’t regret anything,” he says. “I was with people, [and] these things last a lifetime … and I wouldn’t take that back for anything. Did we make some mistakes? Yeah. But at the time, for what it was, it was right on time. I was just glad to be a part of it. Like I said, we never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Fifty years ago, an unlikely R&B group evolved out of the Oakland chapter of the Black Panther Party. The Lumpen weren’t out to make hit records, they were out to change American culture.","status":"publish","parent":0,"modified":1595458736,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":117,"wordCount":4840},"headData":{"title":"A Trojan Horse of Funk and Soul: The Story of the Black Panthers House Band | KQED","description":"Fifty years ago, an unlikely R&B group evolved out of the Oakland chapter of the Black Panther Party. The Lumpen weren’t out to make hit records, they were out to change American culture.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"A Trojan Horse of Funk and Soul: The Story of the Black Panthers House Band","datePublished":"2020-07-10T23:50:32.000Z","dateModified":"2020-07-22T22:58:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11827750 https://ww2.kqed.org/news/?p=11827750","disqusUrl":"https://ww2.kqed.org/news/2020/07/10/a-trojan-horse-of-funk-and-soul-the-story-of-the-black-panthers-house-band/","disqusTitle":"A Trojan Horse of Funk and Soul: The Story of the Black Panthers House Band","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2020/07/TCRPM20200710.mp3","path":"/news/11827750/a-trojan-horse-of-funk-and-soul-the-story-of-the-black-panthers-house-band","audioDuration":1720000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, an unlikely musical group evolved out of the Oakland chapter of the Black Panther Party. They were called the Lumpen. And although they quickly gained a following for their air-tight funk and striking lyrics, they were always meant to be much more than mere entertainment.\u003c/p>\n\u003cp>Where other bands of their era were content to coast on good vibes, the Lumpen\u003cstrong> \u003c/strong>were out to preach a message of revolution in places where that message wasn’t always wanted. They were a musical cadre whose mission was to spread the seed of social revolution, armed with funk, attitude and matching outfits.\u003c/p>\n\u003cp>In 1973, Michael Torrence is a 22-year-old Black Panther. He’s dedicated himself to the cause and obeyed every command. He’s a true soldier.\u003c/p>\n\u003cp>“We were definitely as hardcore as anybody cause we dropped everything to come,” says Torrence. “We didn’t join to sing. We joined to be revolutionaries. We joined to make the revolution. We joined … to be Panthers!”\u003c/p>\n\u003cp>But five years of complete devotion to the Panthers has taken a toll. Now, Torrence is desperate to focus on his personal life, just for a while.\u003c/p>\n\u003cp>But to do this, he needs to get permission and it's got to come from the top.\u003c/p>\n\u003cfigure id=\"attachment_11730261\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11730261\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg\" alt=\"When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat.\" width=\"800\" height=\"475\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-160x95.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-1020x605.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-1200x712.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Torrence shows up at the Lamp Post — it’s a bar in West Oakland — where Panther leader Bobby Seale is having a birthday party. The two men huddle in a corner and talk for a while, but it’s all good.\u003c/p>\n\u003cp>Seale gives Torrence his blessing for some leave time.\u003c/p>\n\u003cp>Torrence is relieved. But as he’s making his way out of the bar, someone tells him that Huey Newton wants to see him. And he wants to see him now.\u003c/p>\n\u003cp>Newton is Seale’s comrade and co-founder of the Panthers. For years, Newton has been a strong and charismatic leader. But recently his moods have been unstable. Tonight, for whatever reason, he’s agitated.\u003c/p>\n\u003cp>Torrence is ushered into a chair in a back room. And there, flanked by a couple enforcers, is Newton.\u003c/p>\n\u003cp>“And he says, ‘Comrade, I hear you want to leave us. Well, do you want to leave bad enough to die? Do you really want to leave bad enough to die?' I don’t understand the question,” Torrence says. “And [Newton’s enforcer] June takes a gun and puts it to my head. 'Oh no, comrade, I don’t want to die.'\"\u003c/p>\n\u003cp>“He say, ‘Okay. So this is what’s going to happen, you say…’\"\u003c/p>\n\u003cp>Torrence starts to object. Newton isn't having it.\u003c/p>\n\u003cp>\"Would you tell this brother not to talk when I’m talking?\"\u003c/p>\n\u003cp>Torrence gets a swift kick in the mouth.\u003c/p>\n\u003cp>Newton begins again, \"Okay then. So. You say, all power to the people.\"\u003c/p>\n\u003cp>\"All power to the people,” mumbles Torrence.\u003c/p>\n\u003cp>Michael Torrence has just been persuaded to rethink his request for some time off — a pistol to the head is hard to argue with.\u003c/p>\n\u003cfigure id=\"attachment_11828362\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828362\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther and Lumpen member Michael Torrence. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>People Get Ready\u003c/h3>\n\u003cp>By 1973, Torrence’s years with the Panthers have been a rollercoaster life of extremes. Many times he’s picked up a gun.\u003c/p>\n\u003cp>But he’s also picked up a microphone.\u003c/p>\n\u003cp>Though Torrence did not join the Panthers to sing, the movement’s Minister of Culture gave him and three other young soldiers a special assignment for the cause. It was an R&B group called the Lumpen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. '","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Michael Torrence, former member of the Lumpen","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it all began in 1970, the Lumpen’s music was explosive. The band was powerful, and so was the message.\u003c/p>\n\u003cp>The Lumpen worked nonstop for the cause, killing it wherever they performed: San Francisco, Los Angeles, New York, Philadelphia and the Midwest.\u003c/p>\n\u003cp>But it only lasted 11 months. Then things in the Black Panther Party began to implode.\u003c/p>\n\u003cp>This is the story of the rise and fall of an unlikely R&B group born out of social upheaval. The Lumpen weren’t out to make hit records, they were out to change American culture.\u003c/p>\n\u003cp>It’s a journey unlike that of any other band.\u003c/p>\n\u003cp>And Michael Torrence was at the center of it.\u003c/p>\n\u003ch3>Rise of the Panthers\u003c/h3>\n\u003cp>In 1966, Huey Newton and Bobby Seale co-found the Black Panther Party. They're both students at Merritt Community College in Oakland.\u003c/p>\n\u003cp>Within a few years, the Party offers educational programs, food service, free medical care and drug rehab to the Black community. And the Panthers are leading the fight against rampant police brutality.\u003c/p>\n\u003cp>By the end of the ‘60s, change is in the air, and the Bay Area is ground zero.\u003c/p>\n\u003cp>“[In] San Francisco at that time, we were in the Fillmore District,” Torrence says. “It was very high-tension. Police were riding, you know, four or five deep. If you were out selling your papers they would come and harass you, snatch your papers, maybe arrest you, threaten you. But at the same time there was a lot of energy. That’s the best thing about it. You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. There was this commitment to die if necessary.”\u003c/p>\n\u003cp>Those papers are the weekly bible of party information, a publication called The Black Panther. And the Howard Quinn Printing Company on Alabama Street is where the Lumpen story begins.\u003c/p>\n\u003cfigure id=\"attachment_11828364\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lumpen singer and former Black Panther James Mott, aka Saturu Ned. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former Lumpen singer James Mott, now known as Saturu Ned, takes up the story.\u003c/p>\n\u003cp>“Wednesday night was distribution night, where we would get out the paper. Everybody would come,\" he said.\u003c/p>\n\u003cp>That's in 1970: He’s newly arrived from the Sacramento Panther chapter.\u003c/p>\n\u003cp>All the future members of the Lumpen are in attendance that Wednesday night: Torrence, Mott — now Saturu, William Calhoun and Clark “Santa Rita” Bailey. They all have musical backgrounds ranging from church choirs to professional-level experience, but when they meet, they’re just loyal young soldiers taking orders along with everybody else.\u003c/p>\n\u003cp>“It was a community gathering in Fillmore,” Saturu says. “At that time, Fillmore is not like it is now, changed, and the gentrification. It was … Fillmore.”\u003c/p>\n\u003cp>“And on those distribution nights when various chapters would all come together from the Bay Area to get the paper out, we would sing,” Torrence says.\u003c/p>\n\u003cp>“And we would sing, at that point, just doo-wop songs,” Saturu recalls. “So one night I went over there and the three of us sang and I joined in. And we started harmonizing. We just blended in so cool!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'If this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Michael Torrence, former member of the Lumpen","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then what we began to do was, we’d just put other words to the popular songs. Because we would be singing what we called revolutionary songs to encourage us in the struggle. In terms of the Lumpen, it kinda grew out of that. Just us singing together. Part of, I guess, the tradition of just singin’ while you work,” Torrence says.\u003c/p>\n\u003cp>It’s a typical Wednesday. The four Panthers are at the print shop, stacking and racking and harmonizing into the night. But this time, there’s someone listening: Emory Douglas, the party’s Minister of Culture.\u003c/p>\n\u003cp>“So after I got back to Central [headquarters], Emory comes in and says, ‘Hey brother, comrade James, you know, everybody relates to music.' I say, 'Yeah Emory, they do.' He says, ‘You guys sound good. We could create a group and the group could be part of the Ministry of Culture, where we could be able to get that message out in the music.’”\u003c/p>\n\u003cp>Emory Douglas is the brilliant style guru and visual artist whose iconic posters and flyers helped brand the movement.\u003c/p>\n\u003cp>“I just would make suggestions,” Douglas says. “Possibly adding some social justice context to the lyrics.”\u003c/p>\n\u003cp>At this point, Bobby Seale and Huey Newton are both behind bars. So Douglas approaches Panthers Chief of Staff David Hilliard. He understands the value of spreading the word through music, and he greenlights the project. He also gives the group a name: The Lumpen.\u003c/p>\n\u003cp>It’s a play on Karl Marx’s idea of the lumpenproletariat: the lower class that would rise up to crush the capitalist power structure.\u003c/p>\n\u003cfigure id=\"attachment_11828363\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828363\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Billy X Jennings, friend of the Lumpen members, and fan of the band. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At the time the party was coming about, political education, political awareness, was growing tremendously,” says Billy X Jennings. He’s a former Panther and the party’s long time historian. He was tight with the Lumpen members fifty years ago, and still is to this day.\u003c/p>\n\u003cp>“In 1968, James Brown put out a song that really changed everything, because Black people, prior to that time, referred to themselves as Negro,” Jennings continues. “James Brown came out and said, 'We’re Black and we’re proud.' And once that record come out, you could never go back and say you’re a Negro. You could never go back! James Brown couldn’t have did that in ‘68 if there wasn’t a group like the Black Panther Party that had set up a foundation of knowledge already.”\u003c/p>\n\u003cp>“Emory was recognizing the role of music historically in Black people’s struggle and part of our culture period,” Torrence says. “He began to say, we can do something with this! You guys sound decent together anyway, because we just clicked like that. And so he encouraged us to put something together.\u003c/p>\n\u003cp>“Whatever rehearsal we would do, we would have to do after whatever other assignments or duties we had,” Torrence continues. “So we had to go sell the papers, we had to do the breakfast program, we’d have to do the garbage run, we’d have to do security. We’d have to do whatever it is that any other Panther would do.”\u003c/p>\n\u003cp>From the Panthers’ perspective, The Lumpen was not about show business. It was about contributing to the revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Singing for us was just political work,” Torrence clarifies. “And if they said the next day, ‘Okay, that’s it,’ fine. Cause we didn’t join for that. If I was really about that, I could have been trying to do it out there in the world. I could have been out there trying to get paid. We never got paid, it was just, if this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do. But it was always, we follow orders.”\u003c/p>\n\u003cp>And now, only a few months since they were harmonizing to the oldies at the printing plant, their orders are to get onstage and get to work: Educate the people, spread the word and earn money for the party.\u003c/p>\n\u003cp>The Lumpen assemble a six-piece interracial backing band from local players sympathetic to the cause. They’re called the Freedom Messengers.\u003c/p>\n\u003cp>By the summer of 1970, the group is performing at rallies, community gatherings and Panther events around the Bay Area.\u003c/p>\n\u003cp>And they’re good. They’re tight. It’s a professional show on par with almost any act. They’ve got the energy of James Brown, and the dance moves and harmonies of the Temptations. But the lyrics are all about what the Panthers are all about.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G2llXaUMMqc'\n title='//www.youtube.com/embed/G2llXaUMMqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bobby Seale has just been arrested in New Haven. The first and only single the group makes is \"Free Bobby Now.\" It’s written by Bill Calhoun, recorded at Tiki Studios in San Jose in August of 1970. Calhoun's song \"No More\" is on the flip side.\u003c/p>\n\u003cp>The record is released on the Panthers’ own Seize the Time label, with credit to Black Panther Party Productions. It’s promoted in the Party newspaper, and sold at live shows and Panther events. Any profits are funneled back into the party.\u003c/p>\n\u003cp>The Lumpen take the single around to Bay Area radio stations, but the lyrics are considered too provocative for airplay. But no one questions the quality of what they’re hearing.\u003c/p>\n\u003cp>“They took the craft seriously,” says Rickey Vincent. He’s the author of \"Party Time: The Inside Story of the Black Panthers’ Band\" and \"How Black Power Transformed Soul Music\". It’s a subject he knows well. His mother was an early Panther.\u003c/p>\n\u003cp>“When they did ‘People Get Ready’ by Curtis Mayfield and The Impressions, they hit those notes that you had to hit that show respect for those aspirations that were in that song in 1964-65. The Lumpen flipped the lyrics, obviously. Instead of saying ‘People get ready there’s a train a’comin’,' they said, ‘People get ready, the revolution’s comin', you don’t need a ticket, you need a loaded gun.’ And it was like, wait a minute, that’s soul music the way it’s supposed to be sung, but those are not lyrics the way we’ve heard them before.”\u003c/p>\n\u003cfigure id=\"attachment_11828372\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg\" alt=\"\" width=\"800\" height=\"1100\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1020x1402.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-160x220.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1117x1536.jpg 1117w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit.jpg 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed a benefit show in Oakland on Oct. 11, 1970. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen start headlining shows. They’re gigging weekly, doing benefits and playing college campuses up and down the West Coast. And when they’re not headlining, they’re on bills with the Grateful Dead, Carla Thomas and Curtis Mayfield.\u003c/p>\n\u003cp>And not only is the music on fire, but the live show takes choreography to a whole ‘nother level.\u003c/p>\n\u003cp>“Once we hit the stage, [it was] nonstop,” Torrence says. “Even mixed in a dance routine where we would act out brothers on the block playing dice, and James Mott would be a cop. He’d come and harass one and he’d be beating this brother up, and he’d be beating him with a club and I’m watching it, and then I’d finally get disgusted and I’d jump on the cop and Clark and I together, we’d beat the cop down. So it wasn’t just the singing, it was the choreography. The whole experience was something they hadn’t seen before.”\u003c/p>\n\u003cp>In the winter of 1970, the band hits the road for a tour of the Midwest and East Coast. The crowds are enthusiastic. But tensions are running high.\u003c/p>\n\u003cp>David Levinson is the Freedom Messengers’ 19-year-old sax player. After a show at the University of Minnesota, a snowstorm is kicking in. The band is packing up their gear when they’re approached by members of the Black Student Union.\u003c/p>\n\u003cp>“I’ll never forget this,” Levinson says. “They invited the Black members of the band to stay with them, but they didn’t want the white members of the band, of which there were two of us.\"\u003c/p>\n\u003cp>“These guys from the student group come out and they look like a military junta,” says Saturu Ned. “[They] got on the black berets and the black boots. I’m like, 'What are you guys doing?' 'Oh, uh, who are those white guys?' 'Excuse me? They’re a part of the Lumpen band.' 'Well, they can’t stay!' We told ’em, 'Look you motherfuckers, we’re not staying if they’re not staying.' I said, 'This is a people’s revolution and these are our brothers that we stand behind.'”\u003c/p>\n\u003cp>Levinson is still close with Saturu and the other former band members. “That’s just a small example of the kind of camaraderie and unity we felt. There never was any racism promoted for or practiced by the Black Panther Party at all.”\u003c/p>\n\u003cfigure id=\"attachment_11828371\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11828371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg\" alt=\"\" width=\"800\" height=\"1092\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-1020x1393.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-160x218.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-1125x1536.jpg 1125w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4.jpg 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed at Stanford University on Feb. 17, 1971. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen are also in the crosshairs of the cops wherever they go. Late one night after a college show in New Jersey, the police follow the band down an empty road heading out of town.\u003c/p>\n\u003cp>“They made us get out the car,” Saturu says. “They knew who we were and it was pitch dark where they pulled us over. We were like, this is it. They gonna kill us. There was a general rule back then, go to a lighted area. What they did was, one car got in front of us, slowed down. The other one got right behind us. And they waited for that real dark area to pull us over — this is part of the intimidation, right?\u003c/p>\n\u003cp>“There were four of’em. They was grinnin’. ‘Sing for us!’ So we started singing—what was that song? ‘As we stroll along together…’ They would harass us to let us know, we watching you. We know who you are.”\u003c/p>\n\u003cp>But the Lumpen are battling another force besides the authorities. And it’s coming from within the party.\u003c/p>\n\u003cp>“There were people in the party, some in leadership, some in the rank and file that said, ‘Yeah, these guys [in the Lumpen] think they’re something special,'\" Torrence says.\u003c/p>\n\u003cp>“If it wasn’t for Emory, I don’t think the Lumpen would have came about because Emory is the one who had the juice,” Billy X Jennings emphasizes. “And there was people that wasn’t into the Lumpen. They didn’t think revolutionaries should be doing that kind of thing. But they were older people too, there weren’t R&B people, they were blues people, and during that time there was a difference. Most of the leadership was southern guys. Southern guys like blues. We are young guys, we like R&B. So that’s why [the Lumpen] never really got any more higher than they were because they were always related to as Panthers first.”\u003c/p>\n\u003cp>But that didn’t stop them.\u003c/p>\n\u003ch3>On Fire in Oakland\u003c/h3>\n\u003cp>It’s Nov. 10, 1970, at Merritt College in Oakland. It’s the alma mater of Huey Newton and Bobby Seale. The birthplace of the Black Panther Party. Tonight, to a packed auditorium, the Lumpen will get the message out.\u003c/p>\n\u003cp>Bear in mind: this group has been together for less than a year.\u003c/p>\n\u003cp>While almost everybody else in the San Francisco music scene has been getting high and jamming, the Lumpen have been working as full time revolutionaries, pursued by the police and the FBI.\u003c/p>\n\u003cp>And they still find time to get this group together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'It was one of the best shows in my life because the audience was electrified. ... We were thinking about the same thing — revolution.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Billy X Jennings, a former Black Panther and the party’s historian","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And tonight is special. The show is being recorded for a live album, and the group pulls out all the stops. Billy X Jennings is there with his fist in the air.\u003c/p>\n\u003cp>“It was one of the best shows in my life because the audience was electrified. Once the Lumpen came on and the band start playing, you would hear them repeat something to the crowd and the crowd would throw it back. Like when they say, 'All power to the people,' the crowd would say, 'All power to the people!' with a force! And when they’d say, 'Death to the Fascist pigs,' they’d say, 'Death to fascist pigs!' If you just listen to the people’s feedback alone, you could get high on that. They were killin’ me boy! And even to this day when I hear that, it gives me that revolutionary enthusiasm cause everybody was on the one that night. We were thinking about the same thing — revolution.”\u003c/p>\n\u003cp>The show was an undeniable success… but no album ever appeared.\u003c/p>\n\u003cp>The master tapes made that night went missing, and have never been found. Some have suggested that they were confiscated by the FBI. It’s also possible that they were mislabeled and disappeared in the chaos and discord of the time period. Or they could be decaying in an attic somewhere, long forgotten.\u003c/p>\n\u003cp>Only a grainy, multi-generation cassette of the show has ever surfaced, but it captures the raw power of the band.\u003c/p>\n\u003cfigure id=\"attachment_11828149\" class=\"wp-caption alignnone\" style=\"max-width: 582px\">\u003cimg class=\"size-full wp-image-11828149\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg\" alt=\"\" width=\"582\" height=\"391\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg 582w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2-160x107.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen’s mission was to spread the seed of social revolution. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As 1971 arrives, the Panther Party leadership is in chaos. Bobby Seale is still in prison in New Haven. Eldridge Cleaver, the Minister of Information, has fled to Algeria to escape an attempted murder charge on an Oakland cop. The FBI is working to weaken and target the party through a secret \u003ca href=\"https://www.history.com/topics/civil-rights-movement/black-panthers#section_4\">counterintelligence program.\u003c/a>\u003c/p>\n\u003cp>The party is factionalizing.\u003c/p>\n\u003cp>“Huey’s come back out with some different ideas about how things should go,” Torrence says. “In some cases you got Panther against Panther, whether you with Eldridge division or National Headquarters.\"\u003c/p>\n\u003cp>At this point, Eldridge is strongly promoting violence.\u003c/p>\n\u003cp>“Right,” Torrence says, but “Huey and Bobby were moving toward a survival program. Even we had to change because all of our original songs was about picking up the gun. There was some other things going on internally, in terms of some of the things being done by Huey that I didn’t agree with, I didn’t join for. And it wasn’t about the police. That was the thing that was bad about it. I was never scared about the police. It’s a bad thing when you get more concerned about the people that you work with than you do with the cops.”\u003c/p>\n\u003cp>As the atmosphere within the Party becomes more desperate, interest in the group from those in power dwindles to nothing. The Lumpen members are reassigned. They’re taken off R&B duty and put on security detail. Their days as a group are numbered.\u003c/p>\n\u003cp>“No, it wasn’t justified,” says Emory Douglas of the group's demise. “It could have been worked out, but you know we had people who wanted to exercise their position, as far as being in charge. All those things played into it, petty spitefulness. All that.”\u003c/p>\n\u003cp>As Torrence said earlier, if the day came when the singing had to stop, fine. That day finally came.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Michael Torrence, former member of the Lumpen","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We never thought of ourselves as anything other than Panthers. And the Lumpen was a cadre, a unit for a cultural purpose. We loved it, we enjoyed it, but in the big picture, it’s just another assignment. And so when the situation and circumstances change, then you move on to the next assignment. And we didn’t really have time to mourn about it. Because that’s exactly what happened.\"\u003c/p>\n\u003cp>On May 23, 1971, in Sacramento, the Lumpen play their last gig. A few days later, Bill Calhoun decides to leave the party. He was the group’s songwriter. So only 11 months after it began, the band is done.\u003c/p>\n\u003cp>But the Panther Party is still Michael Torrence’s life. It’s all he’s known since he was a teenager. Which brings us back to that night in 1973 at the bar in West Oakland: The night Torrence talked to Bobby Seale and asked for some time off from the Panthers.\u003c/p>\n\u003cp>“So anyway, I go to Bobby at his birthday party at the Lamp Post and I said, ‘Well, Chairman, I have a daughter. She needs some support. Plus, I’m having these little anxiety attacks that’s affecting my work, it’s affecting my effectiveness. I don’t wanna quit, I don’t wanna leave, but I need some time. Get myself back together, and then I’m coming back. I’m coming back.’ And Bobby was real cool with me on it, you know. And I’m crying. I’m shedding tears.”\u003c/p>\n\u003cp>Torrence is leaving the bar when Huey Newton calls him back upstairs. He says the Party will contribute $50 a month for to support Torrence’s daughter. Then Newton puts a gun to Torrence’s head and says this:\u003c/p>\n\u003cp>“'Okay then,’” Torrence recalls. “'We send fifty dollars, but you say: All power to the people.' All power to the people. So I stuck around.\u003c/p>\n\u003cp>\"And about six months later, one of the guys from Chicago comes by, says, ‘You still wanna go? Cause we can’t afford to pay for your kid no more. So you can go, you can leave now.’ OK. Well, all right then. Power to the people now.”\u003c/p>\n\u003cp>And that’s it. Michael Torrence is out of the Black Panthers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"black-panthers","label":"Related coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And it was traumatic,” he says. “What was traumatic for me was leaving. What was traumatic was what it had become.\"\u003c/p>\n\u003cp>Did he feel betrayed?\u003c/p>\n\u003cp>“Yes! Absolutely. Betrayed, angry, bitter, frustrated. Yes. It took me a while to get back to what they call livin’ in the world. 'Cause the Party was my world. You ask me what I was, I was a Panther. That’s what I was and who I was. And then to lose that ... and try and adjust to out being here, and get a job. What am I gonna put on my resume? Where you been the last five years?”\u003c/p>\n\u003cp>But Torrence did have something on his resume that worked outside of the revolution: The Lumpen. It got him a job.\u003c/p>\n\u003cp>Torrence wound up singing behind Marvin Gaye, and he appeared on the singer’s 1974 album, “Marvin Gaye Live!” It was recorded just a few miles away from where the Lumpen recorded their own live album just four years earlier, in Oakland.\u003c/p>\n\u003cp>Torrence went on to write, produce and sing for other artists for the rest of the 1970s.\u003c/p>\n\u003cp>Though he parted ways with the Panthers almost 50 years ago, it’s still part of him.\u003c/p>\n\u003cp>“As far as the Black Panther Party’s concerned, I don’t regret anything,” he says. “I was with people, [and] these things last a lifetime … and I wouldn’t take that back for anything. Did we make some mistakes? Yeah. But at the time, for what it was, it was right on time. I was just glad to be a part of it. Like I said, we never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11827750/a-trojan-horse-of-funk-and-soul-the-story-of-the-black-panthers-house-band","authors":["11275"],"programs":["news_72","news_26731"],"categories":["news_223","news_8"],"tags":["news_22590","news_19129","news_20365","news_1425","news_18"],"featImg":"news_11828152","label":"news_26731"},"news_11641425":{"type":"posts","id":"news_11641425","meta":{"index":"posts_1591205157","site":"news","id":"11641425","score":null,"sort":[1515801961000]},"guestAuthors":[],"slug":"hop-in-your-lyft-rapper-has-arrived","title":"Hop in, Your Lyft Rapper Has Arrived","publishDate":1515801961,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>For anyone who has taken a Lyft ride, the signature bell sound announcing the driver’s arrival might be the only sound they hear for the duration of the trip.\u003c/p>\n\u003cp>Ride-hailing can be a silent and somewhat awkward experience. But one Bay Area driver seeks to establish a human connection with everyone who steps into his white Prius, with some spontaneous entertainment.\u003c/p>\n\u003cfigure id=\"attachment_11641436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641436\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-1020x646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-960x608.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-240x152.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-375x237.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-520x329.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut.jpg 1137w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashel Eldridge has a YouTube channel called the Legend of the Lyft Rapper. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Ashel Eldridge calls himself The Lyft Rapper. He asks his passengers to come up with a topic and a style of music, and he makes up a song, on the spot, while driving to the destination.\u003c/p>\n\u003cp>Riders often make goofy requests -- asking for songs about deli sandwiches, pizza or popcorn -- but Eldridge’s freestyle flows often gravitate into more complex commentary about social issues.\u003c/p>\n\u003cp>He says he loves it when riders request songs about immigration, gentrification or community health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LDA1N2Y3gag\u003c/p>\n\u003cp>Elridge, who also goes by the emcee name Seasunz, says his mission is to elevate the consciousness of his community by helping people understand the forces that may be manipulating them.\u003c/p>\n\u003cp>His passengers say they’re startled at first when their Lyft driver begins rapping to them. But after the song, they admit the Lyft Rapper has turned a typically mundane trip into an unforgettable experience.\u003c/p>\n\u003cp>“Clearly I got to witness a very high level of creativity and being able to think on the spot,” said Tom Cheng, a UC Berkeley student.\u003c/p>\n\u003cp>Cheng, who was on his way to take the GRE, asked Eldridge to rap about anxiety and uncertainty.\u003c/p>\n\u003cfigure id=\"attachment_11641433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641433\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cheng was on his way to take the GRE when he met -- and was sung to by -- the Lyft Rapper. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think everyone has a very interesting life story, and [the Lyft Rapper] is definitely one that should be heard,” said Cheng.\u003c/p>\n\u003cp>Eldridge said he started rapping for his ride-hailing passengers a few years ago as a way to pass the time behind the wheel.\u003c/p>\n\u003cp>Eventually, he decided to turn it into a show for his YouTube channel called \u003ca href=\"https://www.youtube.com/channel/UCDc1Jp-2EIDmYsA7q1r-9lQ\" target=\"_blank\" rel=\"noopener\">The Legend of the Lyft Rapper\u003c/a>. The beats are all copyright-free. After the song, passengers give their consent to be recorded.\u003c/p>\n\u003cfigure id=\"attachment_11641440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge grew up in Chicago, where his grandfather was a preacher. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eldridge draws inspiration from his family, starting with his grandfather, who was a minister. As a boy growing up in Chicago, Eldridge would sit in church each week and listen to his grandfather preach.\u003c/p>\n\u003cp>“It’s poetry,” said Eldridge, describing his grandfather. “How he [starts] the sermon, how he ends it, what he says and doesn’t say, his pausing, how he raises his voice, all that I was attracted to. ... It was the storytelling.”\u003c/p>\n\u003cp>Eldridge said he hopes the stories he’s telling through his songs provide his passengers with a greater awareness of the forces that impact their stress and well-being.\u003c/p>\n\u003cfigure id=\"attachment_11641441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641441\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png\" alt=\"\" width=\"800\" height=\"373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-160x75.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1020x476.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1180x551.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-960x448.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-240x112.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-375x175.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-520x243.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670.png 1665w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge is part of a nonprofit called Hip Hop is Green, which uses live hip hop to raise awareness about community health. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His activism extends beyond the driver’s seat: Eldridge is part of a nonprofit called Hip Hop is Green, which hosts dinners and uses live hip-hop to raise awareness about community health.\u003c/p>\n\u003cp>He says he learned about the importance of healthy eating from his grandmother, who died of diabetes, and his aunt, Geraldine Eldridge, who was a former member of the Black Panther Party. The Panthers are known in part for creating an array of community social programs, including free breakfasts for school kids.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7PJIt4vp1BU\u003c/p>\n\u003cp>Eldridge believes that new forms of in-person performance art will naturally emerge as workers are replaced by machines, including drivers for ride-hailing companies as companies convert to driverless cars.\u003c/p>\n\u003cp>While machines can replace drivers, Eldridge argues that companies won’t be able to replace the human connection that people crave to avoid loneliness throughout the day.\u003c/p>\n\u003cp>“It’s something inherently human to create art, which is based off the moment,” Eldridge said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s based off of the bumps in the road, the left turn or right turn, what we ate today. What’s going in the news, what’s going on in people’s personal lives. All those things are playing into the music.”\u003c/p>\n\n","blocks":[],"excerpt":"Oakland’s Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues like immigration and gentrification.","status":"publish","parent":0,"modified":1516401232,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":759},"headData":{"title":"Hop in, Your Lyft Rapper Has Arrived | KQED","description":"Oakland’s Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues like immigration and gentrification.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Hop in, Your Lyft Rapper Has Arrived","datePublished":"2018-01-13T00:06:01.000Z","dateModified":"2018-01-19T22:33:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11641425 https://ww2.kqed.org/news/?p=11641425","disqusUrl":"https://ww2.kqed.org/news/2018/01/12/hop-in-your-lyft-rapper-has-arrived/","disqusTitle":"Hop in, Your Lyft Rapper Has Arrived","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/LyftRapper2.mp3","nprByline":"Allen Young","path":"/news/11641425/hop-in-your-lyft-rapper-has-arrived","audioDuration":307000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For anyone who has taken a Lyft ride, the signature bell sound announcing the driver’s arrival might be the only sound they hear for the duration of the trip.\u003c/p>\n\u003cp>Ride-hailing can be a silent and somewhat awkward experience. But one Bay Area driver seeks to establish a human connection with everyone who steps into his white Prius, with some spontaneous entertainment.\u003c/p>\n\u003cfigure id=\"attachment_11641436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641436\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-1020x646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-960x608.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-240x152.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-375x237.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-520x329.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut.jpg 1137w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashel Eldridge has a YouTube channel called the Legend of the Lyft Rapper. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Ashel Eldridge calls himself The Lyft Rapper. He asks his passengers to come up with a topic and a style of music, and he makes up a song, on the spot, while driving to the destination.\u003c/p>\n\u003cp>Riders often make goofy requests -- asking for songs about deli sandwiches, pizza or popcorn -- but Eldridge’s freestyle flows often gravitate into more complex commentary about social issues.\u003c/p>\n\u003cp>He says he loves it when riders request songs about immigration, gentrification or community health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LDA1N2Y3gag'\n title='//www.youtube.com/embed/LDA1N2Y3gag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elridge, who also goes by the emcee name Seasunz, says his mission is to elevate the consciousness of his community by helping people understand the forces that may be manipulating them.\u003c/p>\n\u003cp>His passengers say they’re startled at first when their Lyft driver begins rapping to them. But after the song, they admit the Lyft Rapper has turned a typically mundane trip into an unforgettable experience.\u003c/p>\n\u003cp>“Clearly I got to witness a very high level of creativity and being able to think on the spot,” said Tom Cheng, a UC Berkeley student.\u003c/p>\n\u003cp>Cheng, who was on his way to take the GRE, asked Eldridge to rap about anxiety and uncertainty.\u003c/p>\n\u003cfigure id=\"attachment_11641433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641433\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cheng was on his way to take the GRE when he met -- and was sung to by -- the Lyft Rapper. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think everyone has a very interesting life story, and [the Lyft Rapper] is definitely one that should be heard,” said Cheng.\u003c/p>\n\u003cp>Eldridge said he started rapping for his ride-hailing passengers a few years ago as a way to pass the time behind the wheel.\u003c/p>\n\u003cp>Eventually, he decided to turn it into a show for his YouTube channel called \u003ca href=\"https://www.youtube.com/channel/UCDc1Jp-2EIDmYsA7q1r-9lQ\" target=\"_blank\" rel=\"noopener\">The Legend of the Lyft Rapper\u003c/a>. The beats are all copyright-free. After the song, passengers give their consent to be recorded.\u003c/p>\n\u003cfigure id=\"attachment_11641440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge grew up in Chicago, where his grandfather was a preacher. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eldridge draws inspiration from his family, starting with his grandfather, who was a minister. As a boy growing up in Chicago, Eldridge would sit in church each week and listen to his grandfather preach.\u003c/p>\n\u003cp>“It’s poetry,” said Eldridge, describing his grandfather. “How he [starts] the sermon, how he ends it, what he says and doesn’t say, his pausing, how he raises his voice, all that I was attracted to. ... It was the storytelling.”\u003c/p>\n\u003cp>Eldridge said he hopes the stories he’s telling through his songs provide his passengers with a greater awareness of the forces that impact their stress and well-being.\u003c/p>\n\u003cfigure id=\"attachment_11641441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11641441\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png\" alt=\"\" width=\"800\" height=\"373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-160x75.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1020x476.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-1180x551.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-960x448.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-240x112.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-375x175.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670-520x243.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28830_alt_670.png 1665w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge is part of a nonprofit called Hip Hop is Green, which uses live hip hop to raise awareness about community health. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His activism extends beyond the driver’s seat: Eldridge is part of a nonprofit called Hip Hop is Green, which hosts dinners and uses live hip-hop to raise awareness about community health.\u003c/p>\n\u003cp>He says he learned about the importance of healthy eating from his grandmother, who died of diabetes, and his aunt, Geraldine Eldridge, who was a former member of the Black Panther Party. The Panthers are known in part for creating an array of community social programs, including free breakfasts for school kids.\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/7PJIt4vp1BU'\n title='//www.youtube.com/embed/7PJIt4vp1BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eldridge believes that new forms of in-person performance art will naturally emerge as workers are replaced by machines, including drivers for ride-hailing companies as companies convert to driverless cars.\u003c/p>\n\u003cp>While machines can replace drivers, Eldridge argues that companies won’t be able to replace the human connection that people crave to avoid loneliness throughout the day.\u003c/p>\n\u003cp>“It’s something inherently human to create art, which is based off the moment,” Eldridge said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s based off of the bumps in the road, the left turn or right turn, what we ate today. What’s going in the news, what’s going on in people’s personal lives. All those things are playing into the music.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11641425/hop-in-your-lyft-rapper-has-arrived","authors":["byline_news_11641425"],"programs":["news_6944","news_72"],"categories":["news_223","news_8"],"tags":["news_19129","news_17740","news_18477","news_4524","news_1425","news_18","news_17286"],"featImg":"news_11641437","label":"news_72"},"news_11615913":{"type":"posts","id":"news_11615913","meta":{"index":"posts_1591205157","site":"news","id":"11615913","score":null,"sort":[1504980013000]},"guestAuthors":[],"slug":"gentrification-and-climate-change-meet-at-the-north-pole","title":"Gentrification and Climate Change Meet at 'The North Pole'","publishDate":1504980013,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Can you make gentrification and climate change funny? The creators of the comedy web series, \"\u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The North Pole\u003c/a>\" think so. The show revolves around a homegrown trio of best friends who find themselves an endangered species in a rapidly gentrifying Oakland. The California Report's Sasha Khokha talks to \u003ca href=\"http://joshhealey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Healey\u003c/a>, writer and producer of \"The North Pole,\" which premieres online Sept. 12.\u003c/p>\n\u003cp>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>This is a hilariously funny but also deadly serious web series about the Bay Area's housing crisis. What gave you the idea to compare people of color getting pushed out of Oakland to polar bears on shrinking glaciers?\u003c/strong>\u003c/p>\n\u003cp>Josh Healey: \"The North Pole\" is a real nickname for the neighborhood of North Oakland. For me, that metaphor, that nickname just felt so real. To be in a city like Oakland or cities across California where it feels like the local climate is changing. The native species, the native communities, are getting pushed out almost to the point of extinction. It felt like a way to talk about these issues in a different way.\u003c/p>\n\u003cp>\u003cstrong>The show centers around three young people: Nina, a teacher at a charter school; Marcus, an aspiring designer; and their friend Benny. They all grew up together and they're watching their neighborhood change all around them. Did the characters come first? Or did the story come first?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Healey: We knew that we wanted to center this story on people who had deep roots in the neighborhood. And really we wanted to do something that showed the multiracial nature of Oakland, of the Bay Area, black and brown folks especially. A lot of these stories are based on real stories.\u003c/p>\n\u003cp>\u003cstrong>You've done a lot of work taking these issues of environmental justice and climate change and translating them into comedy. In \"The North Pole\" you've got this tech company called \"Greengos,\" which is basically designing fake trees. They would offset carbon emissions but they would also have surveillance cameras.\u003c/strong>\u003c/p>\n\u003cp>Healey: I love Al Gore, he's cool. Bill Nye the Science Guy? That's my dude. But the PowerPoint presentations and facts and figures are not enough to reach people. We wanted to do something that addresses the seriousness but also brought the humor, the joy. Comedy is the way to introduce complex issues. It's a way to acknowledge that even when we're thinking and talking about these serious things, we also have the little things that make us smile. If we don't acknowledge those things, then we're losing the humanity that we're trying to fight for in the first place.\u003c/p>\n\u003cp>https://youtu.be/twITH7SxWOo\u003c/p>\n\u003cp>\u003cstrong>You produced this show in conjunction with a\u003ca href=\"http://movementgeneration.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> nonprofit\u003c/a> that uses the arts to raise awareness around climate change. It was funded through a \u003ca href=\"https://www.kickstarter.com/projects/1895822190/the-north-pole-a-comedic-web-series-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">Kickstarter\u003c/a> campaign, not through a big studio like Amazon or Netflix. What was your pitch to people who contributed?\u003c/strong>\u003c/p>\n\u003cp>Healey: If we're going to change the politics or change the policies around these issues, we have to change the story. We have to rethink and re-imagine who are the heroes and who are the villains. You don't have very many shows based in the Bay Area, centered on people of color, on young people who are trying to navigate these serious issues in a creative, fun way. It helps that we brought in a lot of our friends and homies in the artistic and activist community. Folks like comedian \u003ca href=\"http://www.wkamaubell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">W. Kamau Bell\u003c/a>, rappers\u003ca href=\"http://realmistahfab.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Mistah F.A.B\u003c/a>. and Boots Riley and one of my great \"sheroes,\" \u003ca href=\"https://www.erickahuggins.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ericka Huggins\u003c/a>, one of the former leaders of Black Panther Party.\u003c/p>\n\u003cp>\u003cstrong>\"The North Pole\" is a lot about feeling threatened by newcomers who are driving up prices. You are somewhat of an outsider too, from D.C., not Oakland. What was it like to come in and bring that kind of outsider perspective? \u003c/strong>\u003c/p>\n\u003cp>Healey: I'm the first to acknowledge I'm not from here originally. A lot of times these conversations get stuck in this cycle of outsider versus insider, homegrown versus newcomer. I look at it differently. Gentrification is just a new name on something that's been going on in America for a long time. I'm a white boy from Washington, D.C. And I think climate change is just a new name on exacerbated environmental destruction that's been going on for hundreds of years. No matter where you're from, you have to acknowledge the root causes of these issues. It's deeper than the new coffee shop or the new gluten-free doughnut spot on your block. Those are those are the immediate symbols of something that's gone much deeper. Who are the companies and the politicians and the policies that are really pushing this?\u003c/p>\n\u003cp>\u003cstrong>After people watch this, what do you hope it empowers them to do?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Healey: We want people to stand up and to join with their neighbors, to join with their community, to join with their families and to be part of something. We want to activate audiences to become active participants in not just consuming information, but changing the story and becoming part of the story themselves. Individually watching a web series? That's not going to do nothing. But we also know that some things can spark and become wildfires. And right now we need wildfires of hope. We need wildfires of joy. We need laughter and liberation. We're trying to broaden the conversation, change the world and talk a little mess along the way.\u003c/p>\n\n","blocks":[],"excerpt":"A new comedy compares people getting pushed out by gentrification in Oakland to polar bears on shrinking glaciers.","status":"publish","parent":0,"modified":1505232253,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":961},"headData":{"title":"Gentrification and Climate Change Meet at 'The North Pole' | KQED","description":"A new comedy compares people getting pushed out by gentrification in Oakland to polar bears on shrinking glaciers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Gentrification and Climate Change Meet at 'The North Pole'","datePublished":"2017-09-09T18:00:13.000Z","dateModified":"2017-09-12T16:04:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11615913 https://ww2.kqed.org/news/?p=11615913","disqusUrl":"https://ww2.kqed.org/news/2017/09/09/gentrification-and-climate-change-meet-at-the-north-pole/","disqusTitle":"Gentrification and Climate Change Meet at 'The North Pole'","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/TCRPM20170908TheNorthPole.mp3","path":"/news/11615913/gentrification-and-climate-change-meet-at-the-north-pole","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can you make gentrification and climate change funny? The creators of the comedy web series, \"\u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The North Pole\u003c/a>\" think so. The show revolves around a homegrown trio of best friends who find themselves an endangered species in a rapidly gentrifying Oakland. The California Report's Sasha Khokha talks to \u003ca href=\"http://joshhealey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Healey\u003c/a>, writer and producer of \"The North Pole,\" which premieres online Sept. 12.\u003c/p>\n\u003cp>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>This is a hilariously funny but also deadly serious web series about the Bay Area's housing crisis. What gave you the idea to compare people of color getting pushed out of Oakland to polar bears on shrinking glaciers?\u003c/strong>\u003c/p>\n\u003cp>Josh Healey: \"The North Pole\" is a real nickname for the neighborhood of North Oakland. For me, that metaphor, that nickname just felt so real. To be in a city like Oakland or cities across California where it feels like the local climate is changing. The native species, the native communities, are getting pushed out almost to the point of extinction. It felt like a way to talk about these issues in a different way.\u003c/p>\n\u003cp>\u003cstrong>The show centers around three young people: Nina, a teacher at a charter school; Marcus, an aspiring designer; and their friend Benny. They all grew up together and they're watching their neighborhood change all around them. Did the characters come first? Or did the story come first?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Healey: We knew that we wanted to center this story on people who had deep roots in the neighborhood. And really we wanted to do something that showed the multiracial nature of Oakland, of the Bay Area, black and brown folks especially. A lot of these stories are based on real stories.\u003c/p>\n\u003cp>\u003cstrong>You've done a lot of work taking these issues of environmental justice and climate change and translating them into comedy. In \"The North Pole\" you've got this tech company called \"Greengos,\" which is basically designing fake trees. They would offset carbon emissions but they would also have surveillance cameras.\u003c/strong>\u003c/p>\n\u003cp>Healey: I love Al Gore, he's cool. Bill Nye the Science Guy? That's my dude. But the PowerPoint presentations and facts and figures are not enough to reach people. We wanted to do something that addresses the seriousness but also brought the humor, the joy. Comedy is the way to introduce complex issues. It's a way to acknowledge that even when we're thinking and talking about these serious things, we also have the little things that make us smile. If we don't acknowledge those things, then we're losing the humanity that we're trying to fight for in the first place.\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/twITH7SxWOo'\n title='//www.youtube.com/embed/twITH7SxWOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You produced this show in conjunction with a\u003ca href=\"http://movementgeneration.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> nonprofit\u003c/a> that uses the arts to raise awareness around climate change. It was funded through a \u003ca href=\"https://www.kickstarter.com/projects/1895822190/the-north-pole-a-comedic-web-series-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">Kickstarter\u003c/a> campaign, not through a big studio like Amazon or Netflix. What was your pitch to people who contributed?\u003c/strong>\u003c/p>\n\u003cp>Healey: If we're going to change the politics or change the policies around these issues, we have to change the story. We have to rethink and re-imagine who are the heroes and who are the villains. You don't have very many shows based in the Bay Area, centered on people of color, on young people who are trying to navigate these serious issues in a creative, fun way. It helps that we brought in a lot of our friends and homies in the artistic and activist community. Folks like comedian \u003ca href=\"http://www.wkamaubell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">W. Kamau Bell\u003c/a>, rappers\u003ca href=\"http://realmistahfab.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Mistah F.A.B\u003c/a>. and Boots Riley and one of my great \"sheroes,\" \u003ca href=\"https://www.erickahuggins.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ericka Huggins\u003c/a>, one of the former leaders of Black Panther Party.\u003c/p>\n\u003cp>\u003cstrong>\"The North Pole\" is a lot about feeling threatened by newcomers who are driving up prices. You are somewhat of an outsider too, from D.C., not Oakland. What was it like to come in and bring that kind of outsider perspective? \u003c/strong>\u003c/p>\n\u003cp>Healey: I'm the first to acknowledge I'm not from here originally. A lot of times these conversations get stuck in this cycle of outsider versus insider, homegrown versus newcomer. I look at it differently. Gentrification is just a new name on something that's been going on in America for a long time. I'm a white boy from Washington, D.C. And I think climate change is just a new name on exacerbated environmental destruction that's been going on for hundreds of years. No matter where you're from, you have to acknowledge the root causes of these issues. It's deeper than the new coffee shop or the new gluten-free doughnut spot on your block. Those are those are the immediate symbols of something that's gone much deeper. Who are the companies and the politicians and the policies that are really pushing this?\u003c/p>\n\u003cp>\u003cstrong>After people watch this, what do you hope it empowers them to do?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Healey: We want people to stand up and to join with their neighbors, to join with their community, to join with their families and to be part of something. We want to activate audiences to become active participants in not just consuming information, but changing the story and becoming part of the story themselves. Individually watching a web series? That's not going to do nothing. But we also know that some things can spark and become wildfires. And right now we need wildfires of hope. We need wildfires of joy. We need laughter and liberation. We're trying to broaden the conversation, change the world and talk a little mess along the way.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11615913/gentrification-and-climate-change-meet-at-the-north-pole","authors":["107","254"],"programs":["news_6944","news_72"],"categories":["news_223","news_8"],"tags":["news_19129","news_255","news_4613","news_21577","news_17286","news_21578","news_17613"],"featImg":"news_11615914","label":"news_72"},"arts_12158966":{"type":"posts","id":"arts_12158966","meta":{"index":"posts_1591205157","site":"arts","id":"12158966","score":null,"sort":[1475780432000]},"guestAuthors":[],"slug":"what-todays-artist-activists-can-learn-from-the-black-panthers-50-years-on","title":"What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On","publishDate":1475780432,"format":"audio","headTitle":"What Today’s Artist-Activists Can Learn From the Black Panthers, 50 Years On | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/286361203″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>If you want to get a sense of how art goes hand in hand with political activism, spend a little time with Emory Douglas and Ericka Huggins.\u003c/p>\n\u003cp>[contextly_sidebar id=”1UDJ59Jc9T1K13PaaWlHS2spN4LnP16i”]As “Minister of Culture” and a lead graphic artist for the Panthers, Douglas created striking images for the party’s weekly newspaper, like \u003ca href=\"https://ancienttofuture.files.wordpress.com/2011/08/emory-pigs.jpg\" target=\"_blank\" rel=\"noopener\">a famous ink drawing of an angry-looking pig dressed as a cop\u003c/a>, armed to the snout with a baseball bat and canisters of tear gas and mace. “It symbolically represents the police themselves in relationship to their bad manners in the community,” says Douglas, who joined the party in 1967.\u003c/p>\n\u003cfigure id=\"attachment_12163403\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg\" alt=\"Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016.\" width=\"1200\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-800x395.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-960x474.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Black Panther Party always had art, music, dance, even fashion, as a way of thinking about how we shift cultural awareness,” says poet, educator and activist Ericka Huggins, who joined the organization when she was 18.\u003c/p>\n\u003cp>Beyond helping to shape the public’s views around issues like racial discrimination and police brutality against black Americans, Huggins says art also brought in much-needed bail money and helped pay legal fees as Panthers increasingly found themselves on the wrong side of the law. Rock bands like the Grateful Dead, and the Panthers’ own funk group, the Lumpen, performed benefits for party members like Bobby Seale, who was charged with inciting a riot following the 1968 Democratic National Convention in Chicago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lumpen - Free Bobby Now - Seize The Time.wmv\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/e01mZDrdmLw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3>Issues continue 50 years on\u003c/h3>\n\u003cp>As the Black Panther Party celebrates the 50th anniversary of its 1966 founding in Oakland with a slew of cultural events ranging from major museum exhibitions to concerts to underground dance shows, artists observe how little things have changed in five decades for black Americans. “The year marker might be different, but the conversations are much the same,” says Oakland musician and activist Jay-Marie Hill, who plays with the band \u003ca href=\"http://wearefarfetched.net/album/the-revolution-has-come\" target=\"_blank\" rel=\"noopener\">Reverend Sekou & the Holy Ghost\u003c/a>.\u003c/p>\n\u003cp>Bay Area artists like Hill are riffing off the Panther’s legacy to create art aimed at inspiring a modern-day revolution. The musician didn’t start out paying much attention to the Panthers. “I wasn’t connected to the history of black activism even as I grew up in the Bay Area,” Hill says. But struck by the near-constant barrage of news about Black Americans being shot and killed by police, she decided to devote herself full-time to making protest music.\u003c/p>\n\u003cfigure id=\"attachment_12159751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg\" alt=\"Oakland musician and activist Jay Marie Hill\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-400x226.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-960x542.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403.jpeg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician and activist Jay Marie Hill. \u003ccite>(Photo: Courtesy Paul Weaver Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill admires the Panthers’ sense of urgency toward their mission. “Something that the Panthers were absolute about was we are not going to wait for your approval,” Hill says. “We’re coming. We have these demands and we’re not going to wait for you to say it’s OK.”\u003c/p>\n\u003cp>You can hear it in Hill’s forceful song, “We Comin’.” With lyrics like “No more water / Fire next time / If we don’t get no justice / You don’t get no peace’a mind / We ready / We comin,'” the song, Hill says, is inspired by the Panthers’ insistent call to action; their refusal to sit around.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/242410166″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>But Hill says looking to the Panthers will only get today’s activists so far. For her, it’s a matter of gender politics. “One of the differences of this movement, in this moment, is that we’re not down with the men being in front,” Hill says. “And there’s women who can nuance the conversation and really take care of the people.”\u003c/p>\n\u003ch3>Women up front\u003c/h3>\n\u003cp>I met many artists who feel the same way as Hill, and are also using the Panthers’ 50th anniversary as a way to refocus attention away from men and onto women. Women made up the majority of the Party’s membership, and did a huge share of its positive work in the community.\u003c/p>\n\u003cp>Those are facts that some arts organizations want to make plain. The curators at \u003ca href=\"https://oakland.impacthub.net\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, a co-working and creative space in the city’s Uptown neighborhood, commissioned six local contemporary artists including Karen Seneferu and Ain Bailey to contribute art to \u003cem>Sister Comrade\u003c/em>, a multimedia installation honoring some of the most prominent women of the Black Panther Party, such as Elaine Brown, Tarika Lewis and Huggins. The installation is part of \u003ca href=\"https://oakland.impacthub.net/event/opening-nite-reception-survival-pending-revolutionblack-panther-party-50/\" target=\"_blank\" rel=\"noopener\">\u003cem>Survival Pending Revolution: Black Panther Party 50\u003c/em>\u003c/a>, a larger series of programs at Impact Hub featuring archival material and Panther-related talks and other events.\u003c/p>\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ installation honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re looking at the legacy of the feminine divine and women’s voices and making decisions that impact everyone,” says Ashara Ekundayo, who runs Impact Hub Oakland.\u003c/p>\n\u003cp>Meanwhile, the members of \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, also based in Oakland, are presenting a new version of \u003cem>Project Panther\u003c/em>, a theater and dance piece the company initially created in 1996 in honor of the Panthers’ 30th anniversary. This time around, though, they’ve added a female actor for the upcoming performances at the Malonga Casquelourd Center for the Arts in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_12159746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg\" alt=\"Dimensions Dance Theater company mmebers in a scene from 'Project Panther'. Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater company members in a scene from ‘Project Panther.’ Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud. \u003ccite>( Photo: Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But let’s give credit where credit is due, my brothers!,” says the nameless woman, played by actor Brittany Turner, in a scene in which she faces off against two male comrades. “The women in the BPP held it down, truth be told! You could not have done it without us! Then tell the whole story. We helped with the students, the paper, breakfast programs, spreading awareness, right?!”\u003c/p>\n\u003ch3>Spotlight on the rank and file\u003c/h3>\n\u003cp>Another critique levied by modern-day artists against the culture surrounding the Panthers has to do with the glorification of its leaders. Party celebrities like Huey Newton, convicted of manslaughter charges in 1968, were frequent targets of FBI investigations and the focus of much of the controversy surrounding the Party.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Live Black Panthers Free Huey Rally Filmed in Aug 1968\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/dkMmeu6FVIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As a result, many artists now want to look at the important role ordinary people played in furthering the Panthers’ mission, rather than on its figureheads. “I would call it adding a dimension to the Panthers’ story that really hasn’t been told yet and that’s the viewpoint of the rank and file members,” says photojournalist Bryan Shih, co-author, along with historian Yohuru Williams, of the new book of portraits of still-living Panthers, \u003ca href=\"https://www.amazon.com/Black-Panthers-Portraits-Unfinished-Revolution/dp/1568585551/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Black Panthers: An Unfinished Revolution\u003c/em>\u003c/a>. “The effect of the portraits is to really humanize people that I think have been really demonized,” Shih says.\u003c/p>\n\u003cp>One of the many striking portraits in the book is of Richard Brown. Brown was a coordinator of Black Panther jobs and education programs at a San Francisco community center. In the photo, taken recently, the 75-year-old wears a leather jacket and a T-shirt bearing the slogan “All Power to the People.” Brown stares at the camera knowingly — daring us to take up the revolutionary mantle.\u003c/p>\n\u003cfigure id=\"attachment_12164407\" class=\"wp-caption aligncenter\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12164407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg\" alt=\"Portrait of ex-Panther Richard Brown from the new book 'The Black Panthers: An Unfinished Revolution' by Bryan Shih and Yohuru Williams.\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-400x401.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-768x771.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1176x1180.jpeg 1176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1920x1927.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1180x1184.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-960x963.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-150x150.jpeg 150w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ex-Panther Richard Brown from the new book ‘The Black Panthers: An Unfinished Revolution’ by Bryan Shih and Yohuru Williams. \u003ccite>(Photo: Bryan Shih)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art that dares people to continue the fight\u003c/h3>\n\u003cp>If you want to follow in Brown’s footsteps, a good place to start your schooling is at the Oakland Museum of California’s new exhibition, \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">\u003cem>All Power to the People: The Black Panthers At Fifty\u003c/em>\u003c/a>. Among the many artifacts and artworks on display, the exhibition includes 39 of Shih’s portraits.\u003c/p>\n\u003cp>But the first thing you’ll come across as you enter the galleries is a bronze replica of an enormous wicker chair. This is artist Sam Durant’s rendering of Huey Newton’s throne in what has become perhaps the Panthers’ most iconic image.\u003c/p>\n\u003cfigure id=\"attachment_12159758\" class=\"wp-caption aligncenter\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg\" alt=\"Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family.\" width=\"464\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-913x1180.jpg 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1920x2483.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1180x1526.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-960x1241.jpg 960w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And museum curator René de Guzman says there’s a twist: it’s interactive. “The public’s invited to sit in it,” de Guzman says. “So physically they can sit within the legacy of the Black Panther Party and reflect upon those ideas.”\u003c/p>\n\u003cp>Step up. Take a seat. Have a think. These artists hope you’ll take cues from the past to build a better world for the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/06/the-bay-area-celebrates-the-black-panther-party-at-50/\" target=\"_blank\" rel=\"noopener\">See our guide \u003c/a>for a full list of events, exhibitions, performances and conferences around the Bay Area commemorating the 50th anniversary of the Black Panther Party’s founding.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg\" alt=\"Sam Durant Proposal for a Monument to Huey Newton at the Alameda County Courthouse Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition\" width=\"635\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant: Proposal for a Monument to Huey Newton at the Alameda County Courthouse\u003cbr>Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"As the Black Panther Party for Self Defense celebrates the 50th anniversary of its founding in Oakland, Bay Area artists create work to inspire a modern-day revolution.","status":"publish","parent":0,"modified":1705032851,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1707},"headData":{"title":"What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On | KQED","description":"As the Black Panther Party for Self Defense celebrates the 50th anniversary of its founding in Oakland, Bay Area artists create work to inspire a modern-day revolution.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On","datePublished":"2016-10-06T19:00:32.000Z","dateModified":"2024-01-12T04:14:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestFields":"0","sticky":false,"path":"/arts/12158966/what-todays-artist-activists-can-learn-from-the-black-panthers-50-years-on","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/286361203″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/286361203″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you want to get a sense of how art goes hand in hand with political activism, spend a little time with Emory Douglas and Ericka Huggins.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>As “Minister of Culture” and a lead graphic artist for the Panthers, Douglas created striking images for the party’s weekly newspaper, like \u003ca href=\"https://ancienttofuture.files.wordpress.com/2011/08/emory-pigs.jpg\" target=\"_blank\" rel=\"noopener\">a famous ink drawing of an angry-looking pig dressed as a cop\u003c/a>, armed to the snout with a baseball bat and canisters of tear gas and mace. “It symbolically represents the police themselves in relationship to their bad manners in the community,” says Douglas, who joined the party in 1967.\u003c/p>\n\u003cfigure id=\"attachment_12163403\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg\" alt=\"Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016.\" width=\"1200\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-800x395.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-960x474.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Black Panther Party always had art, music, dance, even fashion, as a way of thinking about how we shift cultural awareness,” says poet, educator and activist Ericka Huggins, who joined the organization when she was 18.\u003c/p>\n\u003cp>Beyond helping to shape the public’s views around issues like racial discrimination and police brutality against black Americans, Huggins says art also brought in much-needed bail money and helped pay legal fees as Panthers increasingly found themselves on the wrong side of the law. Rock bands like the Grateful Dead, and the Panthers’ own funk group, the Lumpen, performed benefits for party members like Bobby Seale, who was charged with inciting a riot following the 1968 Democratic National Convention in Chicago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lumpen - Free Bobby Now - Seize The Time.wmv\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/e01mZDrdmLw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3>Issues continue 50 years on\u003c/h3>\n\u003cp>As the Black Panther Party celebrates the 50th anniversary of its 1966 founding in Oakland with a slew of cultural events ranging from major museum exhibitions to concerts to underground dance shows, artists observe how little things have changed in five decades for black Americans. “The year marker might be different, but the conversations are much the same,” says Oakland musician and activist Jay-Marie Hill, who plays with the band \u003ca href=\"http://wearefarfetched.net/album/the-revolution-has-come\" target=\"_blank\" rel=\"noopener\">Reverend Sekou & the Holy Ghost\u003c/a>.\u003c/p>\n\u003cp>Bay Area artists like Hill are riffing off the Panther’s legacy to create art aimed at inspiring a modern-day revolution. The musician didn’t start out paying much attention to the Panthers. “I wasn’t connected to the history of black activism even as I grew up in the Bay Area,” Hill says. But struck by the near-constant barrage of news about Black Americans being shot and killed by police, she decided to devote herself full-time to making protest music.\u003c/p>\n\u003cfigure id=\"attachment_12159751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg\" alt=\"Oakland musician and activist Jay Marie Hill\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-400x226.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-960x542.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403.jpeg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician and activist Jay Marie Hill. \u003ccite>(Photo: Courtesy Paul Weaver Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill admires the Panthers’ sense of urgency toward their mission. “Something that the Panthers were absolute about was we are not going to wait for your approval,” Hill says. “We’re coming. We have these demands and we’re not going to wait for you to say it’s OK.”\u003c/p>\n\u003cp>You can hear it in Hill’s forceful song, “We Comin’.” With lyrics like “No more water / Fire next time / If we don’t get no justice / You don’t get no peace’a mind / We ready / We comin,'” the song, Hill says, is inspired by the Panthers’ insistent call to action; their refusal to sit around.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/242410166″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/242410166″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Hill says looking to the Panthers will only get today’s activists so far. For her, it’s a matter of gender politics. “One of the differences of this movement, in this moment, is that we’re not down with the men being in front,” Hill says. “And there’s women who can nuance the conversation and really take care of the people.”\u003c/p>\n\u003ch3>Women up front\u003c/h3>\n\u003cp>I met many artists who feel the same way as Hill, and are also using the Panthers’ 50th anniversary as a way to refocus attention away from men and onto women. Women made up the majority of the Party’s membership, and did a huge share of its positive work in the community.\u003c/p>\n\u003cp>Those are facts that some arts organizations want to make plain. The curators at \u003ca href=\"https://oakland.impacthub.net\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, a co-working and creative space in the city’s Uptown neighborhood, commissioned six local contemporary artists including Karen Seneferu and Ain Bailey to contribute art to \u003cem>Sister Comrade\u003c/em>, a multimedia installation honoring some of the most prominent women of the Black Panther Party, such as Elaine Brown, Tarika Lewis and Huggins. The installation is part of \u003ca href=\"https://oakland.impacthub.net/event/opening-nite-reception-survival-pending-revolutionblack-panther-party-50/\" target=\"_blank\" rel=\"noopener\">\u003cem>Survival Pending Revolution: Black Panther Party 50\u003c/em>\u003c/a>, a larger series of programs at Impact Hub featuring archival material and Panther-related talks and other events.\u003c/p>\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ installation honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re looking at the legacy of the feminine divine and women’s voices and making decisions that impact everyone,” says Ashara Ekundayo, who runs Impact Hub Oakland.\u003c/p>\n\u003cp>Meanwhile, the members of \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, also based in Oakland, are presenting a new version of \u003cem>Project Panther\u003c/em>, a theater and dance piece the company initially created in 1996 in honor of the Panthers’ 30th anniversary. This time around, though, they’ve added a female actor for the upcoming performances at the Malonga Casquelourd Center for the Arts in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_12159746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg\" alt=\"Dimensions Dance Theater company mmebers in a scene from 'Project Panther'. Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater company members in a scene from ‘Project Panther.’ Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud. \u003ccite>( Photo: Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But let’s give credit where credit is due, my brothers!,” says the nameless woman, played by actor Brittany Turner, in a scene in which she faces off against two male comrades. “The women in the BPP held it down, truth be told! You could not have done it without us! Then tell the whole story. We helped with the students, the paper, breakfast programs, spreading awareness, right?!”\u003c/p>\n\u003ch3>Spotlight on the rank and file\u003c/h3>\n\u003cp>Another critique levied by modern-day artists against the culture surrounding the Panthers has to do with the glorification of its leaders. Party celebrities like Huey Newton, convicted of manslaughter charges in 1968, were frequent targets of FBI investigations and the focus of much of the controversy surrounding the Party.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Live Black Panthers Free Huey Rally Filmed in Aug 1968\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/dkMmeu6FVIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As a result, many artists now want to look at the important role ordinary people played in furthering the Panthers’ mission, rather than on its figureheads. “I would call it adding a dimension to the Panthers’ story that really hasn’t been told yet and that’s the viewpoint of the rank and file members,” says photojournalist Bryan Shih, co-author, along with historian Yohuru Williams, of the new book of portraits of still-living Panthers, \u003ca href=\"https://www.amazon.com/Black-Panthers-Portraits-Unfinished-Revolution/dp/1568585551/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Black Panthers: An Unfinished Revolution\u003c/em>\u003c/a>. “The effect of the portraits is to really humanize people that I think have been really demonized,” Shih says.\u003c/p>\n\u003cp>One of the many striking portraits in the book is of Richard Brown. Brown was a coordinator of Black Panther jobs and education programs at a San Francisco community center. In the photo, taken recently, the 75-year-old wears a leather jacket and a T-shirt bearing the slogan “All Power to the People.” Brown stares at the camera knowingly — daring us to take up the revolutionary mantle.\u003c/p>\n\u003cfigure id=\"attachment_12164407\" class=\"wp-caption aligncenter\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12164407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg\" alt=\"Portrait of ex-Panther Richard Brown from the new book 'The Black Panthers: An Unfinished Revolution' by Bryan Shih and Yohuru Williams.\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-400x401.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-768x771.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1176x1180.jpeg 1176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1920x1927.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1180x1184.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-960x963.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-150x150.jpeg 150w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ex-Panther Richard Brown from the new book ‘The Black Panthers: An Unfinished Revolution’ by Bryan Shih and Yohuru Williams. \u003ccite>(Photo: Bryan Shih)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art that dares people to continue the fight\u003c/h3>\n\u003cp>If you want to follow in Brown’s footsteps, a good place to start your schooling is at the Oakland Museum of California’s new exhibition, \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">\u003cem>All Power to the People: The Black Panthers At Fifty\u003c/em>\u003c/a>. Among the many artifacts and artworks on display, the exhibition includes 39 of Shih’s portraits.\u003c/p>\n\u003cp>But the first thing you’ll come across as you enter the galleries is a bronze replica of an enormous wicker chair. This is artist Sam Durant’s rendering of Huey Newton’s throne in what has become perhaps the Panthers’ most iconic image.\u003c/p>\n\u003cfigure id=\"attachment_12159758\" class=\"wp-caption aligncenter\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg\" alt=\"Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family.\" width=\"464\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-913x1180.jpg 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1920x2483.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1180x1526.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-960x1241.jpg 960w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And museum curator René de Guzman says there’s a twist: it’s interactive. “The public’s invited to sit in it,” de Guzman says. “So physically they can sit within the legacy of the Black Panther Party and reflect upon those ideas.”\u003c/p>\n\u003cp>Step up. Take a seat. Have a think. These artists hope you’ll take cues from the past to build a better world for the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/06/the-bay-area-celebrates-the-black-panther-party-at-50/\" target=\"_blank\" rel=\"noopener\">See our guide \u003c/a>for a full list of events, exhibitions, performances and conferences around the Bay Area commemorating the 50th anniversary of the Black Panther Party’s founding.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg\" alt=\"Sam Durant Proposal for a Monument to Huey Newton at the Alameda County Courthouse Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition\" width=\"635\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant: Proposal for a Monument to Huey Newton at the Alameda County Courthouse\u003cbr>Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12158966/what-todays-artist-activists-can-learn-from-the-black-panthers-50-years-on","authors":["8608"],"series":["arts_610"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1037","arts_1346","arts_1119","arts_1118","arts_596"],"featImg":"arts_12159161","label":"arts_610"},"news_10869500":{"type":"posts","id":"news_10869500","meta":{"index":"posts_1591205157","site":"news","id":"10869500","score":null,"sort":[1455920613000]},"guestAuthors":[],"slug":"lessons-from-growing-up-as-a-black-panther-cub","title":"Lessons From Growing Up as a Black Panther 'Cub'","publishDate":1455920613,"format":"standard","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>It used to be that the children of the Black Panther Party, which was founded 50 years ago in Oakland, were called \"cubs.\" Malkia Cyril grew up in the Bedford-Stuyvesant neighborhood of Brooklyn as a cub.\u003c/p>\n\u003cp>\"For me, growing up in the party was in and of itself a blessing. ’Cause growing up black in America, that's the thing none of us can get away from.\"\u003c/p>\n\u003cp>Her childhood not only made her who she is, she says, but it also equipped her with tools to \u003ca href=\"http://www.aljazeera.com/indepth/features/2015/08/magazine-black-panther-cub-era-civil-action-150805120450656.html\">fight injustice\u003c/a>, tools she has carried through to her work now as founder and executive director of \u003ca href=\"http://centerformediajustice.org/\" target=\"_blank\">the Center for Media Justice\u003c/a> in Oakland.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/247730225\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The community of resistance, she says, gave her a unique perspective and a work ethic. She learned to read sitting on the floor of \u003ca href=\"http://www.nytimes.com/2012/02/05/nyregion/una-mulzac-harlem-bookseller-with-a-passion-for-black-politics-dies-at-88.html\" target=\"_blank\">Liberation Bookstore\u003c/a> in Harlem, memorizing poems like the famous \"\u003ca href=\"https://www.poets.org/poetsorg/poem/still-i-rise\" target=\"_blank\">Still I Rise\u003c/a>\" by Maya Angelou.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps even more importantly, her childhood allowed her to witness those around her demanding change and acting with agency. She saw \"people fighting back,\" she says.\u003c/p>\n\u003cp>It also gave her some unique family traditions.\u003c/p>\n\u003cp>Her family celebrated Kwanzaa every year, but with a big caveat. Her mother was skeptical of the holiday, in part because it was founded by \u003ca href=\"http://www.maulanakarenga.org/\" target=\"_blank\">Maulana Karenga\u003c/a>. (He had changed his name from Ronald McKinley Everett.) Karenga's black nationalist \u003ca href=\"http://www.us-organization.org/\" target=\"_blank\">Organization US \u003c/a>was a rival of the Black Panther Party. That \u003ca href=\"http://nymag.com/news/features/48649/index5.html\" target=\"_blank\">rivalry ended in a gun battle at UCLA\u003c/a> that took the lives of two Panthers.\u003c/p>\n\u003cp>\"Every year she would make a speech about how much she hated Kwanzaa and how it was narrow nationalism, and how we could not stand for narrow nationalism in this day and age.\" But then, Cyril says, they would celebrate the week-long holiday anyway.\u003c/p>\n\u003cp>Another counter-intuitive holiday ritual in her family was watching \"\u003ca href=\"https://www.youtube.com/watch?v=5fH2FOn1V5g\" target=\"_blank\">The Sound of Music\u003c/a>.\"\u003c/p>\n\u003cp>\"Mom said 'The Sound of Music' was about — against tyranny, you know, it was fighting tyranny and Nazism,\" she says. \"I don't know, we liked the music.\"\u003c/p>\n\u003cp>Celebrating Kwanzaa, and then watching the \"Sound of Music\" and \"T\u003ca href=\"http://www.imdb.com/title/tt0078504/\" target=\"_blank\">he Wiz\"\u003c/a> might be a different way to celebrate the season, but Cyril loved it.\u003c/p>\n\u003cp>While she obviously still treasures her childhood memories of celebration and warmth, and the lessons they gave her, that doesn't mean Cyril didn't learn from the mistakes and divisions that brought down the Black Panther Party. She knows the FBI's \u003ca href=\"http://www.huffingtonpost.com/g-flint-taylor/the-fbi-cointelpro-progra_b_4375527.html\" target=\"_blank\">COINTELPRO\u003c/a>, or counter-intelligence program, targeted the Panthers, in part by creeping in through cracks in the movement and turning them into fault lines.\u003c/p>\n\u003cp>\"I think the biggest lesson is how patriarchy can divide a movement,\" Cyril says. \"When we say that the Panthers were destroyed from within and without, really, the heart of that destruction was how the U.S. government used the relationships between men and women to destroy trust.\"\u003c/p>\n\u003cp>Cyril says the government preyed on the spaces where trust was already an issue. Bent on destroying the party from within, it manipulated personal relationships. She knows this because she says it was tried on her mother.\u003c/p>\n\u003cp>\"Sending a letter to her, that said, 'I saw your man, out there with so-and-so.' So that when the FBI comes to talk to you about so-and-so, you are a lot more willing to say something because you now don't trust that person.\"\u003c/p>\n\u003cp>It wasn't just preying on the interpersonal violence of patriarchy that already existed, according to Cyril. The government also used homophobia and classism to undo the seams of unity.\u003c/p>\n\u003cp>Cyril says the history of how division was used to break the stronghold of the movement must be forefront in the minds of the next generation of activists.\u003c/p>\n\u003cp>\"When we say it is our duty to fight for our freedom, what we mean first and foremost is that it is our duty to heal those fault lines,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, she adds, to not grant those fault lines the power to divide again.\u003c/p>\n\n","blocks":[],"excerpt":"Malkia Cyril grew up as a Black Panther cub. decades later, she uses what she learned as a kid.","status":"publish","parent":0,"modified":1455922979,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":728},"headData":{"title":"Lessons From Growing Up as a Black Panther 'Cub' | KQED","description":"Malkia Cyril grew up as a Black Panther cub. decades later, she uses what she learned as a kid.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Lessons From Growing Up as a Black Panther 'Cub'","datePublished":"2016-02-19T22:23:33.000Z","dateModified":"2016-02-19T23:02:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"10869500 http://ww2.kqed.org/news/?p=10869500","disqusUrl":"https://ww2.kqed.org/news/2016/02/19/lessons-from-growing-up-as-a-black-panther-cub/","disqusTitle":"Lessons From Growing Up as a Black Panther 'Cub'","path":"/news/10869500/lessons-from-growing-up-as-a-black-panther-cub","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It used to be that the children of the Black Panther Party, which was founded 50 years ago in Oakland, were called \"cubs.\" Malkia Cyril grew up in the Bedford-Stuyvesant neighborhood of Brooklyn as a cub.\u003c/p>\n\u003cp>\"For me, growing up in the party was in and of itself a blessing. ’Cause growing up black in America, that's the thing none of us can get away from.\"\u003c/p>\n\u003cp>Her childhood not only made her who she is, she says, but it also equipped her with tools to \u003ca href=\"http://www.aljazeera.com/indepth/features/2015/08/magazine-black-panther-cub-era-civil-action-150805120450656.html\">fight injustice\u003c/a>, tools she has carried through to her work now as founder and executive director of \u003ca href=\"http://centerformediajustice.org/\" target=\"_blank\">the Center for Media Justice\u003c/a> in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/247730225&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/247730225'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The community of resistance, she says, gave her a unique perspective and a work ethic. She learned to read sitting on the floor of \u003ca href=\"http://www.nytimes.com/2012/02/05/nyregion/una-mulzac-harlem-bookseller-with-a-passion-for-black-politics-dies-at-88.html\" target=\"_blank\">Liberation Bookstore\u003c/a> in Harlem, memorizing poems like the famous \"\u003ca href=\"https://www.poets.org/poetsorg/poem/still-i-rise\" target=\"_blank\">Still I Rise\u003c/a>\" by Maya Angelou.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps even more importantly, her childhood allowed her to witness those around her demanding change and acting with agency. She saw \"people fighting back,\" she says.\u003c/p>\n\u003cp>It also gave her some unique family traditions.\u003c/p>\n\u003cp>Her family celebrated Kwanzaa every year, but with a big caveat. Her mother was skeptical of the holiday, in part because it was founded by \u003ca href=\"http://www.maulanakarenga.org/\" target=\"_blank\">Maulana Karenga\u003c/a>. (He had changed his name from Ronald McKinley Everett.) Karenga's black nationalist \u003ca href=\"http://www.us-organization.org/\" target=\"_blank\">Organization US \u003c/a>was a rival of the Black Panther Party. That \u003ca href=\"http://nymag.com/news/features/48649/index5.html\" target=\"_blank\">rivalry ended in a gun battle at UCLA\u003c/a> that took the lives of two Panthers.\u003c/p>\n\u003cp>\"Every year she would make a speech about how much she hated Kwanzaa and how it was narrow nationalism, and how we could not stand for narrow nationalism in this day and age.\" But then, Cyril says, they would celebrate the week-long holiday anyway.\u003c/p>\n\u003cp>Another counter-intuitive holiday ritual in her family was watching \"\u003ca href=\"https://www.youtube.com/watch?v=5fH2FOn1V5g\" target=\"_blank\">The Sound of Music\u003c/a>.\"\u003c/p>\n\u003cp>\"Mom said 'The Sound of Music' was about — against tyranny, you know, it was fighting tyranny and Nazism,\" she says. \"I don't know, we liked the music.\"\u003c/p>\n\u003cp>Celebrating Kwanzaa, and then watching the \"Sound of Music\" and \"T\u003ca href=\"http://www.imdb.com/title/tt0078504/\" target=\"_blank\">he Wiz\"\u003c/a> might be a different way to celebrate the season, but Cyril loved it.\u003c/p>\n\u003cp>While she obviously still treasures her childhood memories of celebration and warmth, and the lessons they gave her, that doesn't mean Cyril didn't learn from the mistakes and divisions that brought down the Black Panther Party. She knows the FBI's \u003ca href=\"http://www.huffingtonpost.com/g-flint-taylor/the-fbi-cointelpro-progra_b_4375527.html\" target=\"_blank\">COINTELPRO\u003c/a>, or counter-intelligence program, targeted the Panthers, in part by creeping in through cracks in the movement and turning them into fault lines.\u003c/p>\n\u003cp>\"I think the biggest lesson is how patriarchy can divide a movement,\" Cyril says. \"When we say that the Panthers were destroyed from within and without, really, the heart of that destruction was how the U.S. government used the relationships between men and women to destroy trust.\"\u003c/p>\n\u003cp>Cyril says the government preyed on the spaces where trust was already an issue. Bent on destroying the party from within, it manipulated personal relationships. She knows this because she says it was tried on her mother.\u003c/p>\n\u003cp>\"Sending a letter to her, that said, 'I saw your man, out there with so-and-so.' So that when the FBI comes to talk to you about so-and-so, you are a lot more willing to say something because you now don't trust that person.\"\u003c/p>\n\u003cp>It wasn't just preying on the interpersonal violence of patriarchy that already existed, according to Cyril. The government also used homophobia and classism to undo the seams of unity.\u003c/p>\n\u003cp>Cyril says the history of how division was used to break the stronghold of the movement must be forefront in the minds of the next generation of activists.\u003c/p>\n\u003cp>\"When we say it is our duty to fight for our freedom, what we mean first and foremost is that it is our duty to heal those fault lines,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, she adds, to not grant those fault lines the power to divide again.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10869500/lessons-from-growing-up-as-a-black-panther-cub","authors":["7239"],"programs":["news_6944"],"categories":["news_8"],"tags":["news_19129"],"featImg":"news_10869955","label":"news_6944"},"news_10868230":{"type":"posts","id":"news_10868230","meta":{"index":"posts_1591205157","site":"news","id":"10868230","score":null,"sort":[1455811208000]},"guestAuthors":[],"slug":"lowell-bergman-covering-the-rise-and-fall-of-the-black-panther-party","title":"Lowell Bergman: Covering the Rise and Fall of the Black Panther Party","publishDate":1455811208,"format":"standard","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>The Black Panthers were complicated, says Pulitzer Prize-winning journalist Lowell Bergman. \"The image is never the reality.\"\u003c/p>\n\u003cp>The Black Panther Party was founded in Oakland in October 1966. Reflecting on its legacy 50 years later, Bergman says the Panthers' image -- or the pursuit of that image -- was part of both their success and their downfall.\u003c/p>\n\u003cp>The Panthers emerged the year after Malcolm X was assassinated and almost two years before Martin Luther King Jr. was murdered. Bergman says they unleashed a raw emotional power.\u003c/p>\n\u003cp>He should know. Bergman, who directs the Investigative Reporting Program at UC Berkeley, covered the rise and fall of the Panthers in the 1960s and 1970s, including chronicling the FBI's \u003ca href=\"http://www.rollingstone.com/politics/news/revolution-on-ice-19760909\" target=\"_blank\">war against the party\u003c/a> for Rolling Stone.\u003c/p>\n\u003cp>An iconic image of the Panthers — armed and dressed in leather jackets and black berets — instantly captivated the public's imagination. But it wasn't just the public that was paying attention. The Panthers became a focus for law enforcement, from local police departments to J. Edgar Hoover's FBI.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/247561213\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"You could tell they were changing the game, given the amount of attention they were getting from authorities,\" says Bergman. \"These people were interested in political change, and that was really threatening.\"\u003c/p>\n\u003cp>That attention, he says, came directly from the then-revolutionary act of turning the Second Amendment on its head. Bergman says, that move showed the intellectual brilliance of party leaders.\u003c/p>\n\u003cp>\"They represented not people who were self-educated like Malcolm X, or university- or college-educated like Martin Luther King.\"\u003c/p>\n\u003cp>Instead, they turned to the populism of Marxist theory. \"They described themselves as the lumpen proletariat, meaning they are not the workers -- they are the people below the workers,\" discarded by society, Bergman says.\u003c/p>\n\u003cp>\"They quoted Che Guevara, saying what they were doing was exhausting all legal means before they declared open revolution. And that got people's attention.\"\u003c/p>\n\u003cp>They had another radical idea, to exercise their right to police the police. \"They were the dashboard cams of the 1960s,\" Bergman says.\u003c/p>\n\u003cp>The Panthers used the image of the armed black man to pose questions about police brutality and civil rights. The response was an FBI target on the Panthers' backs and the transformation of their leaders into media darlings.\u003c/p>\n\u003cp>In the end, Bergman says, both of those factors played a significant role in the Panthers' disintegration in the early 1980s.\u003c/p>\n\u003cp>\"There were cocktail parties in Hollywood and Beverly Hills\" says Bergman. \"It was the Radical Chic, and the Panthers' leaders played to that.\"\u003c/p>\n\u003cp>But as they became media stars, their various factions deteriorated, competing for power as well as headlines. Many in the rank and file, Bergman says, were swallowed up by the splintering party, paying the true price of their leaders' fame.\u003c/p>\n\u003cp>It was those who believed in the cause rather than the cult of celebrity, Bergman says, who were left dead or in jail long after the spotlight on the party had been switched off.\u003c/p>\n\u003cp>Bergman points to the case of \u003ca href=\"http://www.nytimes.com/2011/06/04/us/04pratt.html?_r=0\" target=\"_blank\">Geronimo Pratt\u003c/a>, a Vietnam War hero who was jailed for 27 years before his conviction was overturned. After the furor over the Panthers died down, he says, those like Pratt were left to suffer the consequences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Very little attention has been paid to many of those people,\" Bergman says.\u003c/p>\n\n","blocks":[],"excerpt":"Investigative journalist talks about their complicated history and image: 'These people were interested in political change, and that was really threatening.'","status":"publish","parent":0,"modified":1455817016,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":603},"headData":{"title":"Lowell Bergman: Covering the Rise and Fall of the Black Panther Party | KQED","description":"Investigative journalist talks about their complicated history and image: 'These people were interested in political change, and that was really threatening.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Lowell Bergman: Covering the Rise and Fall of the Black Panther Party","datePublished":"2016-02-18T16:00:08.000Z","dateModified":"2016-02-18T17:36:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"10868230 http://ww2.kqed.org/news/?p=10868230","disqusUrl":"https://ww2.kqed.org/news/2016/02/18/lowell-bergman-covering-the-rise-and-fall-of-the-black-panther-party/","disqusTitle":"Lowell Bergman: Covering the Rise and Fall of the Black Panther Party","path":"/news/10868230/lowell-bergman-covering-the-rise-and-fall-of-the-black-panther-party","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Black Panthers were complicated, says Pulitzer Prize-winning journalist Lowell Bergman. \"The image is never the reality.\"\u003c/p>\n\u003cp>The Black Panther Party was founded in Oakland in October 1966. Reflecting on its legacy 50 years later, Bergman says the Panthers' image -- or the pursuit of that image -- was part of both their success and their downfall.\u003c/p>\n\u003cp>The Panthers emerged the year after Malcolm X was assassinated and almost two years before Martin Luther King Jr. was murdered. Bergman says they unleashed a raw emotional power.\u003c/p>\n\u003cp>He should know. Bergman, who directs the Investigative Reporting Program at UC Berkeley, covered the rise and fall of the Panthers in the 1960s and 1970s, including chronicling the FBI's \u003ca href=\"http://www.rollingstone.com/politics/news/revolution-on-ice-19760909\" target=\"_blank\">war against the party\u003c/a> for Rolling Stone.\u003c/p>\n\u003cp>An iconic image of the Panthers — armed and dressed in leather jackets and black berets — instantly captivated the public's imagination. But it wasn't just the public that was paying attention. The Panthers became a focus for law enforcement, from local police departments to J. Edgar Hoover's FBI.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/247561213&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/247561213'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"You could tell they were changing the game, given the amount of attention they were getting from authorities,\" says Bergman. \"These people were interested in political change, and that was really threatening.\"\u003c/p>\n\u003cp>That attention, he says, came directly from the then-revolutionary act of turning the Second Amendment on its head. Bergman says, that move showed the intellectual brilliance of party leaders.\u003c/p>\n\u003cp>\"They represented not people who were self-educated like Malcolm X, or university- or college-educated like Martin Luther King.\"\u003c/p>\n\u003cp>Instead, they turned to the populism of Marxist theory. \"They described themselves as the lumpen proletariat, meaning they are not the workers -- they are the people below the workers,\" discarded by society, Bergman says.\u003c/p>\n\u003cp>\"They quoted Che Guevara, saying what they were doing was exhausting all legal means before they declared open revolution. And that got people's attention.\"\u003c/p>\n\u003cp>They had another radical idea, to exercise their right to police the police. \"They were the dashboard cams of the 1960s,\" Bergman says.\u003c/p>\n\u003cp>The Panthers used the image of the armed black man to pose questions about police brutality and civil rights. The response was an FBI target on the Panthers' backs and the transformation of their leaders into media darlings.\u003c/p>\n\u003cp>In the end, Bergman says, both of those factors played a significant role in the Panthers' disintegration in the early 1980s.\u003c/p>\n\u003cp>\"There were cocktail parties in Hollywood and Beverly Hills\" says Bergman. \"It was the Radical Chic, and the Panthers' leaders played to that.\"\u003c/p>\n\u003cp>But as they became media stars, their various factions deteriorated, competing for power as well as headlines. Many in the rank and file, Bergman says, were swallowed up by the splintering party, paying the true price of their leaders' fame.\u003c/p>\n\u003cp>It was those who believed in the cause rather than the cult of celebrity, Bergman says, who were left dead or in jail long after the spotlight on the party had been switched off.\u003c/p>\n\u003cp>Bergman points to the case of \u003ca href=\"http://www.nytimes.com/2011/06/04/us/04pratt.html?_r=0\" target=\"_blank\">Geronimo Pratt\u003c/a>, a Vietnam War hero who was jailed for 27 years before his conviction was overturned. After the furor over the Panthers died down, he says, those like Pratt were left to suffer the consequences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Very little attention has been paid to many of those people,\" Bergman says.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10868230/lowell-bergman-covering-the-rise-and-fall-of-the-black-panther-party","authors":["7239"],"programs":["news_6944"],"categories":["news_6188","news_8"],"tags":["news_19129"],"featImg":"news_10868516","label":"news_6944"},"news_10868172":{"type":"posts","id":"news_10868172","meta":{"index":"posts_1591205157","site":"news","id":"10868172","score":null,"sort":[1455743011000]},"guestAuthors":[],"slug":"preserving-the-history-of-the-black-panthers-close-to-home","title":"Preserving the History of the Black Panthers Close to Home","publishDate":1455743011,"format":"image","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>[dropcap]E[/dropcap]very corner of Billy X Jennings' home is filled with memorabilia. The walls are barely visible behind a sea of posters and banners. Every available surface is carefully decorated with mugs, statues, newspapers and pamphlets -- all of it forming a living shrine to Black Panther history.\u003c/p>\n\u003cp>Jennings' house, on a tree-lined residential street in Sacramento, has become the de facto museum and archive of the Panthers. He also runs an \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\">online archive\u003c/a> to preserve the Black Panther Party's legacy and connect alumni.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/247388949\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"I have always been a collector since I was a kid. I collected stamps, coins, comic books,\" says Jennings, who is a former Panther. But he put those hobbies aside when he became politicized in the crucible of the 1960s.\u003c/p>\n\u003cp>Thirty years later, he began gathering photos for a Black Panthers reunion. Rifling through the old memorabilia sparked that old passion, but this time with a new focus -- the completion of what Jennings calls the most extensive archive of Black Panther materials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"10866949,10866954,10866955,10866957,10866962\"]\u003c/p>\n\u003cp>How has he managed to amass such a vast collection?\u003c/p>\n\u003cp>For one thing, he's been at it for years. And as word of the \"museum\" spread, more and more people began to donate, Jennings says. He also scours garage sales for every possible piece of paper and paraphernalia.\u003c/p>\n\u003cp>For Jennings, the collection is a way to remember a movement that gave back to the community through initiatives like the \u003ca href=\"http://theplate.nationalgeographic.com/2015/11/04/the-black-panthers-revolutionaries-free-breakfast-pioneers/\" target=\"_blank\">free breakfast program\u003c/a>, \u003ca href=\"http://www.alternet.org/story/153527/the_side_of_the_black_panthers_that's_been_virtually_ignored%3A_their_fight_for_healthcare_justice\" target=\"_blank\">health clinics\u003c/a>, sickle cell anemia testing and aid to senior citizens.\u003c/p>\n\u003cp>Jennings says his museum is meant to chronicle and preserve an undertold part of the Black Panther story.\u003c/p>\n\u003cp>\"It reminds me of a time when life had a meaningful purpose,\" he says. \"There's nothing like waking up in the morning knowing that what you are doing, what you are fighting for, is a just cause. They haven't invented a drug that makes you feel that way.\"\u003c/p>\n\u003cfigure id=\"attachment_10866960\" class=\"wp-caption aligncenter\" style=\"max-width: 5152px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0067.jpg\" rel=\"attachment wp-att-10866960\">\u003cimg class=\"size-full wp-image-10866960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0067.jpg\" alt=\"Billy X Jennings holding up a picture of him with Black Panther Party leader Huey Newton. \" width=\"5152\" height=\"3864\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067.jpg 5152w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-960x720.jpg 960w\" sizes=\"(max-width: 5152px) 100vw, 5152px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings holding up a picture of him with Black Panther Party leader Huey Newton. \u003ccite>(Joshua Johnson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennings adds that the real memory and meaning of the Panthers live far beyond the walls of his filled-to-the-brim home.\u003c/p>\n\u003cp>He tells a story about walking down Telegraph Avenue in Oakland recently, wearing his usual Black Panther T-shirt.\u003c/p>\n\u003cp>[contextly_sidebar id=\"hzU1QTG3FBTeuJKfcx59r49toTgfZe0t\"]\u003c/p>\n\u003cp>\"Some brothers were coming down the street, and they say, 'Hey man, was you a Panther?' \"\u003c/p>\n\u003cp>When Jennings told them yes, one of the men reached out and hugged him. Another told him the Panthers were his heroes.\u003c/p>\n\u003cp>\"One brother said, 'Hey, my grandmother told me that when she ran out of food, she would call the Panther office and the Panthers would bring her food to her house,' \" Jennings says. \"How old is that story? How long has that story been in that family?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Panther legacy, he says, lives on and on.\u003c/p>\n\u003cfigure id=\"attachment_10866953\" class=\"wp-caption aligncenter\" style=\"max-width: 5152px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0017.jpg\" rel=\"attachment wp-att-10866953\">\u003cimg class=\"wp-image-10866953 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0017.jpg\" alt=\"The walls of Billy X Jennings home are covered with Black Panther memorabilia. \" width=\"5152\" height=\"3864\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017.jpg 5152w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-960x720.jpg 960w\" sizes=\"(max-width: 5152px) 100vw, 5152px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The walls of Billy X Jennings' home are covered with Black Panther memorabilia. \u003ccite>(Joshua Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Sacramento's Billy X Jennings has amassed a collection that preserves the Panthers' story and sheds new light on the group's legacy.","status":"publish","parent":0,"modified":1455833212,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":548},"headData":{"title":"Preserving the History of the Black Panthers Close to Home | KQED","description":"Sacramento's Billy X Jennings has amassed a collection that preserves the Panthers' story and sheds new light on the group's legacy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Preserving the History of the Black Panthers Close to Home","datePublished":"2016-02-17T21:03:31.000Z","dateModified":"2016-02-18T22:06:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"10868172 http://ww2.kqed.org/news/?p=10868172","disqusUrl":"https://ww2.kqed.org/news/2016/02/17/preserving-the-history-of-the-black-panthers-close-to-home/","disqusTitle":"Preserving the History of the Black Panthers Close to Home","path":"/news/10868172/preserving-the-history-of-the-black-panthers-close-to-home","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">E\u003c/span>\u003c/p>\u003cp>very corner of Billy X Jennings' home is filled with memorabilia. The walls are barely visible behind a sea of posters and banners. Every available surface is carefully decorated with mugs, statues, newspapers and pamphlets -- all of it forming a living shrine to Black Panther history.\u003c/p>\n\u003cp>Jennings' house, on a tree-lined residential street in Sacramento, has become the de facto museum and archive of the Panthers. He also runs an \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\">online archive\u003c/a> to preserve the Black Panther Party's legacy and connect alumni.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/247388949&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/247388949'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"I have always been a collector since I was a kid. I collected stamps, coins, comic books,\" says Jennings, who is a former Panther. But he put those hobbies aside when he became politicized in the crucible of the 1960s.\u003c/p>\n\u003cp>Thirty years later, he began gathering photos for a Black Panthers reunion. Rifling through the old memorabilia sparked that old passion, but this time with a new focus -- the completion of what Jennings calls the most extensive archive of Black Panther materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"rectangular","ids":"10866949,10866954,10866955,10866957,10866962","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How has he managed to amass such a vast collection?\u003c/p>\n\u003cp>For one thing, he's been at it for years. And as word of the \"museum\" spread, more and more people began to donate, Jennings says. He also scours garage sales for every possible piece of paper and paraphernalia.\u003c/p>\n\u003cp>For Jennings, the collection is a way to remember a movement that gave back to the community through initiatives like the \u003ca href=\"http://theplate.nationalgeographic.com/2015/11/04/the-black-panthers-revolutionaries-free-breakfast-pioneers/\" target=\"_blank\">free breakfast program\u003c/a>, \u003ca href=\"http://www.alternet.org/story/153527/the_side_of_the_black_panthers_that's_been_virtually_ignored%3A_their_fight_for_healthcare_justice\" target=\"_blank\">health clinics\u003c/a>, sickle cell anemia testing and aid to senior citizens.\u003c/p>\n\u003cp>Jennings says his museum is meant to chronicle and preserve an undertold part of the Black Panther story.\u003c/p>\n\u003cp>\"It reminds me of a time when life had a meaningful purpose,\" he says. \"There's nothing like waking up in the morning knowing that what you are doing, what you are fighting for, is a just cause. They haven't invented a drug that makes you feel that way.\"\u003c/p>\n\u003cfigure id=\"attachment_10866960\" class=\"wp-caption aligncenter\" style=\"max-width: 5152px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0067.jpg\" rel=\"attachment wp-att-10866960\">\u003cimg class=\"size-full wp-image-10866960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0067.jpg\" alt=\"Billy X Jennings holding up a picture of him with Black Panther Party leader Huey Newton. \" width=\"5152\" height=\"3864\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067.jpg 5152w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0067-960x720.jpg 960w\" sizes=\"(max-width: 5152px) 100vw, 5152px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings holding up a picture of him with Black Panther Party leader Huey Newton. \u003ccite>(Joshua Johnson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennings adds that the real memory and meaning of the Panthers live far beyond the walls of his filled-to-the-brim home.\u003c/p>\n\u003cp>He tells a story about walking down Telegraph Avenue in Oakland recently, wearing his usual Black Panther T-shirt.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"Some brothers were coming down the street, and they say, 'Hey man, was you a Panther?' \"\u003c/p>\n\u003cp>When Jennings told them yes, one of the men reached out and hugged him. Another told him the Panthers were his heroes.\u003c/p>\n\u003cp>\"One brother said, 'Hey, my grandmother told me that when she ran out of food, she would call the Panther office and the Panthers would bring her food to her house,' \" Jennings says. \"How old is that story? How long has that story been in that family?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Panther legacy, he says, lives on and on.\u003c/p>\n\u003cfigure id=\"attachment_10866953\" class=\"wp-caption aligncenter\" style=\"max-width: 5152px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0017.jpg\" rel=\"attachment wp-att-10866953\">\u003cimg class=\"wp-image-10866953 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/IMG_0017.jpg\" alt=\"The walls of Billy X Jennings home are covered with Black Panther memorabilia. \" width=\"5152\" height=\"3864\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017.jpg 5152w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/IMG_0017-960x720.jpg 960w\" sizes=\"(max-width: 5152px) 100vw, 5152px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The walls of Billy X Jennings' home are covered with Black Panther memorabilia. \u003ccite>(Joshua Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10868172/preserving-the-history-of-the-black-panthers-close-to-home","authors":["7239"],"programs":["news_6944"],"categories":["news_6188","news_13"],"tags":["news_17651","news_19129","news_18743"],"featImg":"news_10866959","label":"news_6944"},"news_73557":{"type":"posts","id":"news_73557","meta":{"index":"posts_1591205157","site":"news","id":"73557","score":null,"sort":[1345483903000]},"guestAuthors":[],"slug":"man-who-armed-black-panthers-was-fbi-informant-records-show","title":"Man Who Armed Black Panthers Was FBI Informant, Records Show","publishDate":1345483903,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>The man who gave the Black Panther Party some of its first firearms and weapons training – which preceded fatal shootouts with Oakland police in the turbulent 1960s – was an undercover FBI informer, according to a former bureau agent and an FBI report.\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/sOWR3ArCEqI\" width=\"560\" height=\"315\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>One of the Bay Area’s most prominent radical activists of the era, Richard Masato Aoki was known as a fierce militant who touted his street-fighting abilities. He was a member of several radical groups before joining and arming the Panthers, whose members received international notoriety for brandishing weapons during patrols of the Oakland police and a protest at the state Legislature.\u003c/p>\n\u003cp>Aoki went on to work for 25 years as a teacher, counselor and administrator at the Peralta Community College District, and after his suicide in 2009, he was revered as a fearless radical.\u003c!--more-->\u003c/p>\n\u003cp>But unbeknownst to his fellow activists, Aoki had served as an FBI intelligence informant, covertly filing reports on a wide range of Bay Area political groups, according to the bureau agent who recruited him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That agent, Burney Threadgill Jr., recalled that he approached Aoki in the late 1950s, about the time Aoki was graduating from Berkeley High School. He asked Aoki if he would join left-wing groups and report to the FBI.\u003c/p>\n\u003cp>“He was my informant. I developed him,” Threadgill said in an interview. “He was one of the best sources we had.”\u003c/p>\n\u003cp>The former agent said he asked Aoki how he felt about the Soviet Union, and the young man replied that he had no interest in communism.\u003c/p>\n\u003cp>“I said, ‘Well, why don’t you just go to some of the meetings and tell me who’s there and what they talked about?’ Very pleasant little guy. He always wore dark glasses,” Threadgill recalled.\u003c/p>\n\u003cp>Aoki’s work for the FBI, which has never been reported, was uncovered and verified during research for the book, “Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power.” The book, based on research spanning three decades, will be published tomorrow by Farrar, Straus and Giroux.\u003c/p>\n\u003cp>In a tape-recorded interview for the book in 2007, two years before he committed suicide, Aoki was asked if he had been an FBI informant. Aoki’s first response was a long silence. He then replied, “ ‘Oh,’ is all I can say.”\u003c/p>\n\u003cp>Later during the same interview, Aoki contended the information wasn’t true.\u003c/p>\n\u003cp>Asked if this reporter was mistaken that Aoki had been an informant, Aoki said, “I think you are,” but added: “People change. It is complex. Layer upon layer.”\u003c/p>\n\u003cp>However, the FBI later released records about Aoki in response to a Freedom of Information Act request. A Nov. 16, 1967, intelligence report on the Black Panthers lists Aoki as an “informant” with the code number “T-2.”\u003c/p>\n\u003cp>An FBI spokesman declined to comment on Aoki, citing litigation seeking additional records about him under the Freedom of Information Act.\u003c/p>\n\u003cp>Since his death – Aoki shot himself at his Berkeley home after a long illness – his legend has grown. In a 2009 feature-length documentary film, “Aoki,” and a 2012 biography, “Samurai Among Panthers,” he is portrayed as a militant radical leader. Neither mentions that he had worked with the FBI.\u003c/p>\n\u003cp>Harvey Dong, who was a fellow activist and close friend, said last week that he had never heard that Aoki was an informant.\u003c/p>\n\u003cp>“It’s definitely something that is shocking to hear,” said Dong, who was the executor of Aoki’s estate. “I mean, that’s a big surprise to me.”\u003c/p>\n\u003cp>Dong recalled that Aoki tended to “compartmentalize” the different parts of his life. Before he shot himself, Dong said, Aoki had laid out in his apartment two neatly pressed uniforms: One was the black leather jacket, beret and dark trousers of the Black Panthers. The other was his U.S. Army regimental.\u003c/p>\n\u003cp>In Berkeley in the late 1960s, Aoki wore slicked-back hair, sported sunglasses even at night and spoke with a ghetto patois. His fierce demeanor intimidated even his fellow radicals, several of them have said.\u003c/p>\n\u003cp>“He had swagger up to the moon,” former Berkeley activist Victoria Wong recalled at his memorial.\u003c/p>\n\u003cp>\u003cstrong>From gangs to the military\u003c/strong>\u003c/p>\n\u003cp>Aoki was born in San Leandro in 1938, the first of two sons. He was 4 when his family was interned at Topaz, Utah, with thousands of other Japanese Americans during World War II.\u003c/p>\n\u003cp>After the war, Aoki grew up in West Oakland, in an area that had been known as Little Yokohama before becoming a low-income black community. He joined a gang and became a tough street fighter who as an adult would boast, “I was the baddest Oriental come out of West Oakland.”\u003c/p>\n\u003cp>He shoplifted, burgled homes and stole car parts for “the midnight auto supply business,” he told Berkeley’s KPFA radio in a 2006 interview. Oakland police repeatedly arrested him for “mostly petty-type stuff,” he said in the 2007 interview. Still, he graduated from Herbert Hoover Junior High School as co-valedictorian.\u003c/p>\n\u003cp>But the internment during World War II had shattered his family, Aoki had said. His father became a gangster and abandoned his family, and his mother won custody of her sons and moved them to Berkeley. Aoki did well academically at Berkeley High School and became president of the Stamp and Coin Club. However, he assaulted another student in the hallway and, as he recalled, “beat him half to death.”\u003c/p>\n\u003cp>Three days after graduating from high school in January 1957, Aoki reported for duty at Fort Ord, near Monterey. He had enlisted in the U.S. Army the prior year, at age 17. He acknowledged in the 2007 interview that he had “cut a deal” in which military authorities arranged for his criminal record to be sealed.\u003c/p>\n\u003cp>Aoki said he had hoped to become the army’s first Asian American general, but he served only about a year on active duty and seven more in the reserves before being honorably discharged as a sergeant.\u003c/p>\n\u003cp>Although he saw no combat, he became a firearms expert. “I got to play with all the toys I wanted to play with when I was growing up,” he told KPFA. “Pistols, rifles, machine guns, mortars, rocket launchers.”\u003c/p>\n\u003cp>Being in the reserves left Aoki a lot of free time, and he became deeply involved in left-wing political organizations at the behest of the FBI, retired FBI agent Threadgill said during a series of interviews before his death in 2005.\u003c/p>\n\u003cp>“The activities that he got involved in was because of us using him as an informant,” he said.\u003c/p>\n\u003cp>Threadgill recalled that he first approached Aoki after a bureau wiretap on the home phone of Saul and Billie Wachter, local members of the Communist Party, picked up Aoki talking to fellow Berkeley High classmate Doug Wachter.\u003c/p>\n\u003cp>At first, Aoki gathered information about the Communist Party, Threadgill said. But Aoki soon focused on the Socialist Workers Party and its youth affiliate, the Young Socialist Alliance, also targets of an intensive FBI domestic security investigation.\u003c/p>\n\u003cp>By spring 1962, Aoki had been elected to the Berkeley Young Socialist Alliance’s executive council, FBI records show. That December, he became a member of the Oakland-Berkeley branch of the Socialist Workers Party, where he served as the representative to Bay Area civil rights groups. He also was on the steering committee of the Committee to Uphold the Right to Travel.\u003c/p>\n\u003cp>In 1965, Aoki joined the Vietnam Day Committee, an influential anti-war group based in Berkeley, and worked on its international committee as liaison to foreign anti-war activists.\u003c/p>\n\u003cp>All along, Aoki met regularly with his FBI handler. Aoki also filed reports by phone, Threadgill said.\u003c/p>\n\u003cp>“I’d call him and say, ‘When do you want to get together?’ ” Threadgill recalled. “I’d say, ‘I’ll meet you on the street corner at so-and-so and so on.’ I would park a couple of blocks away and get out and go and sit down and talk to him.”\u003c/p>\n\u003cp>\u003cstrong>Arming the Black Panthers\u003c/strong>\u003c/p>\n\u003cp>Threadgill worked with Aoki through mid-1965, when he moved to another FBI office and turned Aoki over to a fellow agent. Aoki was well positioned to inform on a wide range of political activists.\u003c/p>\n\u003cp>Aoki attended Merritt College in Oakland, where he met Huey Newton, a pre-law student, and Bobby Seale, an engineering student, who were in a political group called the Soul Students Advisory Council.\u003c/p>\n\u003cp>In fall 1966, Aoki transferred to UC Berkeley as a junior in sociology. That October, Seale and Newton took a draft of their 10-point program for what would become the Black Panther Party for Self-Defense to Aoki’s Berkeley apartment and discussed it over drinks. The platform called for improved housing, education, full employment, the release of incarcerated black men, a halt to “the robbery by the capitalists of our black community” and an “immediate end to police brutality.”\u003c/p>\n\u003cp>Soon after, Aoki gave the Panthers some of their first guns. As Seale recalled in his memoir, “Seize the Time:”\u003c/p>\n\u003cp>“Late in November 1966, we went to a Third World brother we knew, a Japanese radical cat. He had guns … .357 Magnums, 22’s, 9mm’s, what have you. … We told him that if he was a real revolutionary he better go on and give them up to us because we needed them now to begin educating the people to wage a revolutionary struggle. So he gave us an M-1 and a 9mm.”\u003c/p>\n\u003cp>In early 1967, Aoki joined the Black Panther Party and gave them more guns, Seale wrote. Aoki also gave Panther recruits weapons training, he said in the 2007 interview.\u003c/p>\n\u003cp>“I had a little collection, and Bobby and Huey knew about it, and so when the party was formed, I decided to turn it over to the group,” Aoki said in the interview. “And so when you see the guys out there marching and everything, I’m somewhat responsible for the military slant to the organization’s public image.”\u003c/p>\n\u003cp>In early 1967, the Panthers displayed guns during their “community patrols” of Oakland police and also that May 2, when they visited the state Legislature to protest a bill.\u003c/p>\n\u003cp>Although carrying weapons was legal at the time, there is little doubt their presence contributed to fatal confrontations between the Panthers and the police.\u003c/p>\n\u003cp>On Oct. 28, 1967, Newton was in a shootout that wounded Oakland Officer Herbert Heanes and killed Officer John Frey. On April 6, 1968, Eldridge Cleaver and five other Panthers were involved in a firefight with Oakland police. Cleaver and two officers were wounded, and Panther Bobby Hutton was killed.\u003c/p>\n\u003cp>During the period Aoki was arming the Panthers, he also was informing for the FBI. The FBI report that lists him as informant T-2 says that in May 1967, he reported on the Panthers.\u003c/p>\n\u003cp>None of the released FBI reports mention that Aoki gave guns to the Panthers.\u003c/p>\n\u003cp>\u003cstrong>FBI’s reliance on informants\u003c/strong>\u003c/p>\n\u003cp>M. Wesley Swearingen, a retired FBI agent who has criticized unlawful bureau surveillance activities under the late Director J. Edgar Hoover, reviewed some of those records. He concluded in a sworn declaration – filed in a Freedom of Information Act lawsuit seeking records on Aoki – that Aoki had been an informant.\u003c/p>\n\u003cp>Swearingen served in the FBI from 1951 to 1977, and worked on a squad that investigated the Panthers.\u003c/p>\n\u003cp>“Someone like Aoki is perfect to be in a Black Panther Party, because I understand he is Japanese,” he said. “Hey, nobody is going to guess – he’s in the Black Panther Party; nobody is going to guess that he might be an informant.”\u003c/p>\n\u003cp>Swearingen also said the FBI certainly must have additional records concerning Aoki, including special informant files.\u003c/p>\n\u003cp>“Aoki wouldn't even have to be a member of the party. If he just knew Huey Newton and Bobby Seale, if he went out to lunch with them every day, they would have a main file,” he said. “But to say they don’t have a main file is ludicrous.”\u003c/p>\n\u003cp>In the 1990s, testimony from Swearingen helped to vacate the murder conviction of Elmer “Geronimo” Pratt, a Black Panther leader in Los Angeles. Evidence showed that the FBI and Los Angeles Police Department had failed to disclose that a key witness against Pratt was a longtime FBI informant named Julius C. Butler. Pratt later won a civil suit for wrongful imprisonment, with the City of Los Angles paying Pratt $2.75 million and the FBI paying him $1.75 million.\u003c/p>\n\u003cp>During the late ’60s and early ’70s, the FBI sought to disrupt and “neutralize” the Black Panthers under COINTELPRO, the bureau’s secret counterintelligence program to stifle dissent, according to reports by the U.S. Senate Select Committee to Study Government Operations with Respect to Intelligence Activities.\u003c/p>\n\u003cp>As part of COINTELPRO, the committee found, the FBI used informants to gather intelligence leading to the weapons arrests of Panthers in Chicago, Detroit, San Diego and Washington. By the end of 1969, at least 28 Panthers had been killed in gunfights with police and many more arrested on weapons charges, according to news accounts.\u003c/p>\n\u003cp>Hoover declared in late 1968 that the Panthers, who by now had chapters across the nation, posed “the greatest threat to the internal security of the country.” He cited their radical philosophy and armed confrontations with police.\u003c/p>\n\u003cp>Although Aoki later would boast of his role with the Panthers, he was secretive about his relations with them at the time, explaining in the 2007 interview that he feared being expelled from UC Berkeley if his activities were known.\u003c/p>\n\u003cp>In early 1969, Aoki emerged as a leader of the Third World Liberation Front strike at UC Berkeley, which demanded more ethnic studies courses. He advocated violent tactics, according to interviews with him and Manuel Delgado, another strike leader.\u003c/p>\n\u003cp>Scores of students and police were injured during the three-month confrontation, which became the campus’s most violent strike to date. Gov. Ronald Reagan declared a state of emergency and sent the National Guard to quell the violence.\u003c/p>\n\u003cp>At a memorial service for Aoki at Wheeler Hall in May 2009, Seale, of the Black Panthers, and other activists hailed Aoki as a “fearless leader and servant of the people.” In a phone conversation last week, Seale expressed surprise at hearing that Aoki was an informant and declined to comment further.\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld was an investigative reporter for the San Francisco Examiner and San Francisco Chronicle and has won the George Polk Award and other journalism honors. He can be reached at \u003ca href=\"mailto:seth@sethrosenfeld.com\">seth@sethrosenfeld.com\u003c/a>. This story was edited by Robert Salladay and copy edited by Nikki Frick.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was produced by the Center for Investigative Reporting. Learn more at www.cironline.org\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1454456619,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":68,"wordCount":2586},"headData":{"title":"Man Who Armed Black Panthers Was FBI Informant, Records Show | KQED","description":"The man who gave the Black Panther Party some of its first firearms and weapons training – which preceded fatal shootouts with Oakland police in the turbulent 1960s – was an undercover FBI informer, according to a former bureau agent and an FBI report. One of the Bay Area’s most prominent radical activists of the","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Man Who Armed Black Panthers Was FBI Informant, Records Show","datePublished":"2012-08-20T17:31:43.000Z","dateModified":"2016-02-02T23:43:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"73557 http://ww2.kqed.org/news/?p=73557","disqusUrl":"https://ww2.kqed.org/news/2012/08/20/man-who-armed-black-panthers-was-fbi-informant-records-show/","disqusTitle":"Man Who Armed Black Panthers Was FBI Informant, Records Show","nprByline":"\u003cstrong>Seth Rosenfeld\u003c/strong>\u003cbr />Center for Investigative Reporting","nprStoryId":"465346081","path":"/news/73557/man-who-armed-black-panthers-was-fbi-informant-records-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who gave the Black Panther Party some of its first firearms and weapons training – which preceded fatal shootouts with Oakland police in the turbulent 1960s – was an undercover FBI informer, according to a former bureau agent and an FBI report.\u003c/p>\n\u003cp>\u003ciframe src=\"http://www.youtube.com/embed/sOWR3ArCEqI\" width=\"560\" height=\"315\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>One of the Bay Area’s most prominent radical activists of the era, Richard Masato Aoki was known as a fierce militant who touted his street-fighting abilities. He was a member of several radical groups before joining and arming the Panthers, whose members received international notoriety for brandishing weapons during patrols of the Oakland police and a protest at the state Legislature.\u003c/p>\n\u003cp>Aoki went on to work for 25 years as a teacher, counselor and administrator at the Peralta Community College District, and after his suicide in 2009, he was revered as a fearless radical.\u003c!--more-->\u003c/p>\n\u003cp>But unbeknownst to his fellow activists, Aoki had served as an FBI intelligence informant, covertly filing reports on a wide range of Bay Area political groups, according to the bureau agent who recruited him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That agent, Burney Threadgill Jr., recalled that he approached Aoki in the late 1950s, about the time Aoki was graduating from Berkeley High School. He asked Aoki if he would join left-wing groups and report to the FBI.\u003c/p>\n\u003cp>“He was my informant. I developed him,” Threadgill said in an interview. “He was one of the best sources we had.”\u003c/p>\n\u003cp>The former agent said he asked Aoki how he felt about the Soviet Union, and the young man replied that he had no interest in communism.\u003c/p>\n\u003cp>“I said, ‘Well, why don’t you just go to some of the meetings and tell me who’s there and what they talked about?’ Very pleasant little guy. He always wore dark glasses,” Threadgill recalled.\u003c/p>\n\u003cp>Aoki’s work for the FBI, which has never been reported, was uncovered and verified during research for the book, “Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power.” The book, based on research spanning three decades, will be published tomorrow by Farrar, Straus and Giroux.\u003c/p>\n\u003cp>In a tape-recorded interview for the book in 2007, two years before he committed suicide, Aoki was asked if he had been an FBI informant. Aoki’s first response was a long silence. He then replied, “ ‘Oh,’ is all I can say.”\u003c/p>\n\u003cp>Later during the same interview, Aoki contended the information wasn’t true.\u003c/p>\n\u003cp>Asked if this reporter was mistaken that Aoki had been an informant, Aoki said, “I think you are,” but added: “People change. It is complex. Layer upon layer.”\u003c/p>\n\u003cp>However, the FBI later released records about Aoki in response to a Freedom of Information Act request. A Nov. 16, 1967, intelligence report on the Black Panthers lists Aoki as an “informant” with the code number “T-2.”\u003c/p>\n\u003cp>An FBI spokesman declined to comment on Aoki, citing litigation seeking additional records about him under the Freedom of Information Act.\u003c/p>\n\u003cp>Since his death – Aoki shot himself at his Berkeley home after a long illness – his legend has grown. In a 2009 feature-length documentary film, “Aoki,” and a 2012 biography, “Samurai Among Panthers,” he is portrayed as a militant radical leader. Neither mentions that he had worked with the FBI.\u003c/p>\n\u003cp>Harvey Dong, who was a fellow activist and close friend, said last week that he had never heard that Aoki was an informant.\u003c/p>\n\u003cp>“It’s definitely something that is shocking to hear,” said Dong, who was the executor of Aoki’s estate. “I mean, that’s a big surprise to me.”\u003c/p>\n\u003cp>Dong recalled that Aoki tended to “compartmentalize” the different parts of his life. Before he shot himself, Dong said, Aoki had laid out in his apartment two neatly pressed uniforms: One was the black leather jacket, beret and dark trousers of the Black Panthers. The other was his U.S. Army regimental.\u003c/p>\n\u003cp>In Berkeley in the late 1960s, Aoki wore slicked-back hair, sported sunglasses even at night and spoke with a ghetto patois. His fierce demeanor intimidated even his fellow radicals, several of them have said.\u003c/p>\n\u003cp>“He had swagger up to the moon,” former Berkeley activist Victoria Wong recalled at his memorial.\u003c/p>\n\u003cp>\u003cstrong>From gangs to the military\u003c/strong>\u003c/p>\n\u003cp>Aoki was born in San Leandro in 1938, the first of two sons. He was 4 when his family was interned at Topaz, Utah, with thousands of other Japanese Americans during World War II.\u003c/p>\n\u003cp>After the war, Aoki grew up in West Oakland, in an area that had been known as Little Yokohama before becoming a low-income black community. He joined a gang and became a tough street fighter who as an adult would boast, “I was the baddest Oriental come out of West Oakland.”\u003c/p>\n\u003cp>He shoplifted, burgled homes and stole car parts for “the midnight auto supply business,” he told Berkeley’s KPFA radio in a 2006 interview. Oakland police repeatedly arrested him for “mostly petty-type stuff,” he said in the 2007 interview. Still, he graduated from Herbert Hoover Junior High School as co-valedictorian.\u003c/p>\n\u003cp>But the internment during World War II had shattered his family, Aoki had said. His father became a gangster and abandoned his family, and his mother won custody of her sons and moved them to Berkeley. Aoki did well academically at Berkeley High School and became president of the Stamp and Coin Club. However, he assaulted another student in the hallway and, as he recalled, “beat him half to death.”\u003c/p>\n\u003cp>Three days after graduating from high school in January 1957, Aoki reported for duty at Fort Ord, near Monterey. He had enlisted in the U.S. Army the prior year, at age 17. He acknowledged in the 2007 interview that he had “cut a deal” in which military authorities arranged for his criminal record to be sealed.\u003c/p>\n\u003cp>Aoki said he had hoped to become the army’s first Asian American general, but he served only about a year on active duty and seven more in the reserves before being honorably discharged as a sergeant.\u003c/p>\n\u003cp>Although he saw no combat, he became a firearms expert. “I got to play with all the toys I wanted to play with when I was growing up,” he told KPFA. “Pistols, rifles, machine guns, mortars, rocket launchers.”\u003c/p>\n\u003cp>Being in the reserves left Aoki a lot of free time, and he became deeply involved in left-wing political organizations at the behest of the FBI, retired FBI agent Threadgill said during a series of interviews before his death in 2005.\u003c/p>\n\u003cp>“The activities that he got involved in was because of us using him as an informant,” he said.\u003c/p>\n\u003cp>Threadgill recalled that he first approached Aoki after a bureau wiretap on the home phone of Saul and Billie Wachter, local members of the Communist Party, picked up Aoki talking to fellow Berkeley High classmate Doug Wachter.\u003c/p>\n\u003cp>At first, Aoki gathered information about the Communist Party, Threadgill said. But Aoki soon focused on the Socialist Workers Party and its youth affiliate, the Young Socialist Alliance, also targets of an intensive FBI domestic security investigation.\u003c/p>\n\u003cp>By spring 1962, Aoki had been elected to the Berkeley Young Socialist Alliance’s executive council, FBI records show. That December, he became a member of the Oakland-Berkeley branch of the Socialist Workers Party, where he served as the representative to Bay Area civil rights groups. He also was on the steering committee of the Committee to Uphold the Right to Travel.\u003c/p>\n\u003cp>In 1965, Aoki joined the Vietnam Day Committee, an influential anti-war group based in Berkeley, and worked on its international committee as liaison to foreign anti-war activists.\u003c/p>\n\u003cp>All along, Aoki met regularly with his FBI handler. Aoki also filed reports by phone, Threadgill said.\u003c/p>\n\u003cp>“I’d call him and say, ‘When do you want to get together?’ ” Threadgill recalled. “I’d say, ‘I’ll meet you on the street corner at so-and-so and so on.’ I would park a couple of blocks away and get out and go and sit down and talk to him.”\u003c/p>\n\u003cp>\u003cstrong>Arming the Black Panthers\u003c/strong>\u003c/p>\n\u003cp>Threadgill worked with Aoki through mid-1965, when he moved to another FBI office and turned Aoki over to a fellow agent. Aoki was well positioned to inform on a wide range of political activists.\u003c/p>\n\u003cp>Aoki attended Merritt College in Oakland, where he met Huey Newton, a pre-law student, and Bobby Seale, an engineering student, who were in a political group called the Soul Students Advisory Council.\u003c/p>\n\u003cp>In fall 1966, Aoki transferred to UC Berkeley as a junior in sociology. That October, Seale and Newton took a draft of their 10-point program for what would become the Black Panther Party for Self-Defense to Aoki’s Berkeley apartment and discussed it over drinks. The platform called for improved housing, education, full employment, the release of incarcerated black men, a halt to “the robbery by the capitalists of our black community” and an “immediate end to police brutality.”\u003c/p>\n\u003cp>Soon after, Aoki gave the Panthers some of their first guns. As Seale recalled in his memoir, “Seize the Time:”\u003c/p>\n\u003cp>“Late in November 1966, we went to a Third World brother we knew, a Japanese radical cat. He had guns … .357 Magnums, 22’s, 9mm’s, what have you. … We told him that if he was a real revolutionary he better go on and give them up to us because we needed them now to begin educating the people to wage a revolutionary struggle. So he gave us an M-1 and a 9mm.”\u003c/p>\n\u003cp>In early 1967, Aoki joined the Black Panther Party and gave them more guns, Seale wrote. Aoki also gave Panther recruits weapons training, he said in the 2007 interview.\u003c/p>\n\u003cp>“I had a little collection, and Bobby and Huey knew about it, and so when the party was formed, I decided to turn it over to the group,” Aoki said in the interview. “And so when you see the guys out there marching and everything, I’m somewhat responsible for the military slant to the organization’s public image.”\u003c/p>\n\u003cp>In early 1967, the Panthers displayed guns during their “community patrols” of Oakland police and also that May 2, when they visited the state Legislature to protest a bill.\u003c/p>\n\u003cp>Although carrying weapons was legal at the time, there is little doubt their presence contributed to fatal confrontations between the Panthers and the police.\u003c/p>\n\u003cp>On Oct. 28, 1967, Newton was in a shootout that wounded Oakland Officer Herbert Heanes and killed Officer John Frey. On April 6, 1968, Eldridge Cleaver and five other Panthers were involved in a firefight with Oakland police. Cleaver and two officers were wounded, and Panther Bobby Hutton was killed.\u003c/p>\n\u003cp>During the period Aoki was arming the Panthers, he also was informing for the FBI. The FBI report that lists him as informant T-2 says that in May 1967, he reported on the Panthers.\u003c/p>\n\u003cp>None of the released FBI reports mention that Aoki gave guns to the Panthers.\u003c/p>\n\u003cp>\u003cstrong>FBI’s reliance on informants\u003c/strong>\u003c/p>\n\u003cp>M. Wesley Swearingen, a retired FBI agent who has criticized unlawful bureau surveillance activities under the late Director J. Edgar Hoover, reviewed some of those records. He concluded in a sworn declaration – filed in a Freedom of Information Act lawsuit seeking records on Aoki – that Aoki had been an informant.\u003c/p>\n\u003cp>Swearingen served in the FBI from 1951 to 1977, and worked on a squad that investigated the Panthers.\u003c/p>\n\u003cp>“Someone like Aoki is perfect to be in a Black Panther Party, because I understand he is Japanese,” he said. “Hey, nobody is going to guess – he’s in the Black Panther Party; nobody is going to guess that he might be an informant.”\u003c/p>\n\u003cp>Swearingen also said the FBI certainly must have additional records concerning Aoki, including special informant files.\u003c/p>\n\u003cp>“Aoki wouldn't even have to be a member of the party. If he just knew Huey Newton and Bobby Seale, if he went out to lunch with them every day, they would have a main file,” he said. “But to say they don’t have a main file is ludicrous.”\u003c/p>\n\u003cp>In the 1990s, testimony from Swearingen helped to vacate the murder conviction of Elmer “Geronimo” Pratt, a Black Panther leader in Los Angeles. Evidence showed that the FBI and Los Angeles Police Department had failed to disclose that a key witness against Pratt was a longtime FBI informant named Julius C. Butler. Pratt later won a civil suit for wrongful imprisonment, with the City of Los Angles paying Pratt $2.75 million and the FBI paying him $1.75 million.\u003c/p>\n\u003cp>During the late ’60s and early ’70s, the FBI sought to disrupt and “neutralize” the Black Panthers under COINTELPRO, the bureau’s secret counterintelligence program to stifle dissent, according to reports by the U.S. Senate Select Committee to Study Government Operations with Respect to Intelligence Activities.\u003c/p>\n\u003cp>As part of COINTELPRO, the committee found, the FBI used informants to gather intelligence leading to the weapons arrests of Panthers in Chicago, Detroit, San Diego and Washington. By the end of 1969, at least 28 Panthers had been killed in gunfights with police and many more arrested on weapons charges, according to news accounts.\u003c/p>\n\u003cp>Hoover declared in late 1968 that the Panthers, who by now had chapters across the nation, posed “the greatest threat to the internal security of the country.” He cited their radical philosophy and armed confrontations with police.\u003c/p>\n\u003cp>Although Aoki later would boast of his role with the Panthers, he was secretive about his relations with them at the time, explaining in the 2007 interview that he feared being expelled from UC Berkeley if his activities were known.\u003c/p>\n\u003cp>In early 1969, Aoki emerged as a leader of the Third World Liberation Front strike at UC Berkeley, which demanded more ethnic studies courses. He advocated violent tactics, according to interviews with him and Manuel Delgado, another strike leader.\u003c/p>\n\u003cp>Scores of students and police were injured during the three-month confrontation, which became the campus’s most violent strike to date. Gov. Ronald Reagan declared a state of emergency and sent the National Guard to quell the violence.\u003c/p>\n\u003cp>At a memorial service for Aoki at Wheeler Hall in May 2009, Seale, of the Black Panthers, and other activists hailed Aoki as a “fearless leader and servant of the people.” In a phone conversation last week, Seale expressed surprise at hearing that Aoki was an informant and declined to comment further.\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld was an investigative reporter for the San Francisco Examiner and San Francisco Chronicle and has won the George Polk Award and other journalism honors. He can be reached at \u003ca href=\"mailto:seth@sethrosenfeld.com\">seth@sethrosenfeld.com\u003c/a>. This story was edited by Robert Salladay and copy edited by Nikki Frick.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced by the Center for Investigative Reporting. Learn more at www.cironline.org\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/73557/man-who-armed-black-panthers-was-fbi-informant-records-show","authors":["byline_news_73557"],"programs":["news_6944"],"categories":["news_6188"],"tags":["news_19129","news_152"],"label":"news_6944"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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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>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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