New PBS Documentary Spotlights the NAACP’s Earliest Incarnation
‘Rustin’ Grabs the Spotlight in an Uplifting Civil Rights Chorus
The Red Cross Nurse and Shipyard Welder Who Served Long After World War II
Emmett Till Is Known For His Death. A New Film About His Mother Also Honors His Life
Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish
The Day Bill Russell Roasted Me At McClymonds
Dave and Iola Brubeck, Louis Armstrong and the Civil Rights Musical That Never Happened
Concerned About Access to Abortion? Here’s How to Help
Honoring Yuri Kochiyama's Legacy of Asian and Black Solidarity
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FM","link":"/"}},"arts_13952433":{"type":"posts","id":"arts_13952433","meta":{"index":"posts_1591205157","site":"arts","id":"13952433","score":null,"sort":[1708452491000]},"guestAuthors":[],"slug":"naacp-niagara-movement-pbs-documentary-review-web-dubois","title":"New PBS Documentary Spotlights the NAACP’s Earliest Incarnation","publishDate":1708452491,"format":"standard","headTitle":"New PBS Documentary Spotlights the NAACP’s Earliest Incarnation | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>[aside postid='pop_108474']The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>[aside postid='arts_13883630']Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Niagara Movement: The Early Battle for Civil Rights’ documents the victories and clashes of the 1900s. ","status":"publish","parent":0,"modified":1710789062,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":925},"headData":{"title":"Documentary: How the Niagara Movement Became the NAACP | KQED","description":"‘Niagara Movement: The Early Battle for Civil Rights’ documents the victories and clashes of the 1900s. ","ogTitle":"New PBS Documentary Spotlights the NAACP’s Earliest Incarnation","ogDescription":"","ogImgId":"","twTitle":"New PBS Documentary Spotlights the NAACP’s Earliest Incarnation","twDescription":"","twImgId":"","socialTitle":"Documentary: How the Niagara Movement Became the NAACP %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952433/naacp-niagara-movement-pbs-documentary-review-web-dubois","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_108474","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\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>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13883630","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952433/naacp-niagara-movement-pbs-documentary-review-web-dubois","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_990"],"tags":["arts_2733","arts_13672","arts_10278","arts_21950","arts_4565","arts_585"],"featImg":"arts_13952523","label":"arts_140"},"arts_13937499":{"type":"posts","id":"arts_13937499","meta":{"index":"posts_1591205157","site":"arts","id":"13937499","score":null,"sort":[1698966306000]},"guestAuthors":[],"slug":"bayard-rustin-biopic-review-colman-domingo-civil-rights","title":"‘Rustin’ Grabs the Spotlight in an Uplifting Civil Rights Chorus","publishDate":1698966306,"format":"standard","headTitle":"‘Rustin’ Grabs the Spotlight in an Uplifting Civil Rights Chorus | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The great unsung virtue of historical documentaries such as \u003cem>\u003ca href=\"https://www.pbs.org/pov/films/brotheroutsider/\">Brother Outsider: The Life of Bayard Rustin\u003c/a>\u003c/em> (2003), which premiered at Sundance 20 years ago and aired nationally on PBS,\u003cbr>\nis rescuing and preserving forgotten legacies. Rustin, the civil rights activist who masterminded the 1963 March on Washington for Jobs and Freedom but was pushed to the margins because of his homosexuality, belatedly received his close-up in East Bay filmmaker Nancy Kates’ bittersweet portrait.\u003c/p>\n\u003cp>Biopics are most moviegoers’ preferred mode of visual history, though: epic yet intimate dramas with an emotional climax, driven by a larger-than-life performance by a charismatic star. This is not a recent development, of course — \u003ca href=\"https://en.wikipedia.org/wiki/Paul_Muni\">Paul Muni\u003c/a> did successive turns as Louis Pasteur, Emile Zola and Benito Juárez in the late 1930s.\u003c/p>\n\u003cp>Not incidentally, biopics certify heroes. I can’t imagine that Kates, or anyone else in 2003, would have predicted that Hollywood would ever make a feature film about Bayard Rustin. (Certainly not one with a budget to cover a small fleet of 1960s NYC buses, taxis and automobiles.) So let us celebrate George C. Wolfe’s rousing \u003cem>Rustin\u003c/em> (opening Nov. 3 in theaters and debuting Nov. 17 on \u003ca href=\"https://www.netflix.com/title/81111528\">Netflix\u003c/a>), which positions — or should I say mainstreams — Bayard Rustin as one of the boosters who rocketed the Civil Rights Movement to national influence. \u003c/p>\n\u003cfigure id=\"attachment_13937519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000.jpg\" alt=\"A group of men march arm in arm with posters for civil rights and integration\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13937519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Michael Potts as Cleve Robinson, Aml Ameen as Martin Luther King Jr., Chris Rock as NAACP Exec. Dir. Roy Wilkins, Glynn Turman as A. Philip Randolph and Kevin Mambo as Whitney Young in ‘Rustin.’ \u003ccite>(David Lee/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wolfe’s pitch, presumably, invoked the 60th anniversary of \u003ca href=\"https://www.nps.gov/articles/march-on-washington.htm\">the massive protest\u003c/a> on the steps of the Lincoln Memorial that is best remembered today as Martin Luther King Jr.’s coming-out party. King (Ami Ameen) has a small role in \u003cem>Rustin\u003c/em> — this is the activist’s show, after all, and it wouldn’t do for him to be upstaged, even by the event’s headliner — that paradoxically comprises the film’s weaker moments.\u003c/p>\n\u003cp>The supporting cast is highlighted by Jeffrey Wright’s deliciously villainous rendition of the silver-tongued, self-serving congressman Adam Clayton Powell Jr. Rustin’s prime antagonist, however, is cautious NAACP leader Roy Wilkins (a too-recognizable Chris Rock), perpetually concerned that FBI director J. Edgar Hoover (via the media) will use Rustin’s gay identity to discredit the movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13909135']These powerful men play second fiddle to a sometimes manic, sometimes melancholy, always charming Colman Domingo as Bayard Rustin. Julian Breece and Dustin Lance Black’s screenplay gives Domingo a steady stream of galvanizing speeches and punchy one-liners that put us squarely onboard with Rustin’s hard-won wisdom and daring, seize-the-moment crusade. (The preview audience at the AMC Kabuki was moved to applause and cheers more than once.)\u003c/p>\n\u003cfigure id=\"attachment_13937506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000.jpg\" alt=\"A man crouches in front of seated people in a living room, gesturing and talking excitedly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Colman Domingo as Bayard Rustin, Jakeem Dante Powell as Norm, Ayana Workman as Eleanor and Lilli Kay as Rachelle in ‘Rustin.’ \u003ccite>(David Lee/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film’s structure is generally inspired by Mickey Rooney and Judy Garland (“let’s put on a show”), with a bigger operation and higher stakes. The movie squeezes Rustin’s life into the eight or so weeks in which he enlisted and supervised a corps of volunteers to raise funds, enroll attendees and organize the logistics from buses to bag lunches to cleanup.\u003c/p>\n\u003cp>Cresting on the National Mall, \u003cem>Rustin\u003c/em> is a triumphant film, a vindication and validation of Rustin’s personality and strategy. In the same moment, it wants us to take inspiration from the idealism of the Civil Rights Movement that nonviolence and mass participation can transform our society for the better. That’s a big lift in the current climate, admittedly, and the movie’s final slip into sentimentality feels like an admission that escapism is the flip side of activism.\u003c/p>\n\u003cp>Rustin encounters devastating setbacks, of course. At the outset of the film, King’s failure to back his mentor resulted in Rustin’s ouster from the Southern Christian Leadership Conference. Much later, Rustin is brutally beaten by a cop for refusing to sit in the rear of a Greyhound bus. (He is en route to forgive and make up with King, who he needs to convince to join the D.C. rally he’s planning.) \u003c/p>\n\u003cfigure id=\"attachment_13937505\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000.jpg\" alt=\"Two Black men lean towards each other while seated at bar\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo as Bayard Rustin and Johnny Ramey as Elias in ‘Rustin.’ \u003ccite>(David Lee/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His gay relationships provide comfort and pleasure, but also frustration. The movie evokes through vignettes (police raids on gay bars, the risk of public exposure) the fraught, pre-Stonewall lives of gay people, as well as the 50-something Rustin’s difficulty in integrating his personal and public lives. But Wolfe is careful — too careful, I submit — about limiting the intimacy we are allowed to witness.\u003c/p>\n\u003cp>Homosexuality is not the taboo in the Black community that it once was, but the film is far more comfortable talking about it than depicting it. Rustin shares one chaste kiss with his younger white lover, and has one evocative love scene with a married Black minister. Consequently, we don’t get a full measure of Rustin’s softness, vulnerability and need.\u003c/p>\n\u003cp>Rustin recorded a couple albums of spirituals — he had a lovely singing voice — that Kates used to fine effect on the soundtrack of \u003cem>Brother Outsider\u003c/em>. \u003cem>Rustin\u003c/em>, in contrast, includes a clumsy scene in which a character thrusts an instrument into the protagonist’s hands and impels him to play and sing a few bars. That moment encapsulates the limitations of biopics, which compress and shoehorn events and character development into a grand narrative tide.\u003c/p>\n\u003cfigure id=\"attachment_13937520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000.jpg\" alt=\"A Black man in a black suit stands on the Lincoln Memorial steps, small against the architecture and memorial\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13937520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo as Bayard Rustin in ‘Rustin.’ \u003ccite>(Parrish Lewis/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first half of the movie, in particular, skips at a dynamic clip, and it’s easy to slip into its enjoyable, entertaining flow. Colman Domingo carries it the rest of the way, give or take a superfluous, poorly conceived shot that confirms King and Rustin’s reconciliation.\u003c/p>\n\u003cp>But we had long been convinced of Rustin’s contribution to that day, and beyond. And we also know he will always be an outsider. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>‘Rustin’ opens in select Bay Area theaters Nov. 3 and begins streaming on \u003ca href=\"https://www.netflix.com/title/81111528\">Netflix\u003c/a> Nov. 17.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Colman Domingo is the highlight of George C. Wolfe’s biopic of the March on Washington organizer Bayard Rustin.","status":"publish","parent":0,"modified":1705003141,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1087},"headData":{"title":"‘Rustin’ Grabs the Spotlight in an Uplifting Civil Rights Chorus | KQED","description":"Colman Domingo is the highlight of George C. Wolfe’s biopic of the March on Washington organizer Bayard Rustin.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"rustin-grabs-the-spotlight-in-an-uplifting-civil-rights-chorus","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great unsung virtue of historical documentaries such as \u003cem>\u003ca href=\"https://www.pbs.org/pov/films/brotheroutsider/\">Brother Outsider: The Life of Bayard Rustin\u003c/a>\u003c/em> (2003), which premiered at Sundance 20 years ago and aired nationally on PBS,\u003cbr>\nis rescuing and preserving forgotten legacies. Rustin, the civil rights activist who masterminded the 1963 March on Washington for Jobs and Freedom but was pushed to the margins because of his homosexuality, belatedly received his close-up in East Bay filmmaker Nancy Kates’ bittersweet portrait.\u003c/p>\n\u003cp>Biopics are most moviegoers’ preferred mode of visual history, though: epic yet intimate dramas with an emotional climax, driven by a larger-than-life performance by a charismatic star. This is not a recent development, of course — \u003ca href=\"https://en.wikipedia.org/wiki/Paul_Muni\">Paul Muni\u003c/a> did successive turns as Louis Pasteur, Emile Zola and Benito Juárez in the late 1930s.\u003c/p>\n\u003cp>Not incidentally, biopics certify heroes. I can’t imagine that Kates, or anyone else in 2003, would have predicted that Hollywood would ever make a feature film about Bayard Rustin. (Certainly not one with a budget to cover a small fleet of 1960s NYC buses, taxis and automobiles.) So let us celebrate George C. Wolfe’s rousing \u003cem>Rustin\u003c/em> (opening Nov. 3 in theaters and debuting Nov. 17 on \u003ca href=\"https://www.netflix.com/title/81111528\">Netflix\u003c/a>), which positions — or should I say mainstreams — Bayard Rustin as one of the boosters who rocketed the Civil Rights Movement to national influence. \u003c/p>\n\u003cfigure id=\"attachment_13937519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000.jpg\" alt=\"A group of men march arm in arm with posters for civil rights and integration\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13937519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211007_00843_R_f_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Michael Potts as Cleve Robinson, Aml Ameen as Martin Luther King Jr., Chris Rock as NAACP Exec. Dir. Roy Wilkins, Glynn Turman as A. Philip Randolph and Kevin Mambo as Whitney Young in ‘Rustin.’ \u003ccite>(David Lee/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wolfe’s pitch, presumably, invoked the 60th anniversary of \u003ca href=\"https://www.nps.gov/articles/march-on-washington.htm\">the massive protest\u003c/a> on the steps of the Lincoln Memorial that is best remembered today as Martin Luther King Jr.’s coming-out party. King (Ami Ameen) has a small role in \u003cem>Rustin\u003c/em> — this is the activist’s show, after all, and it wouldn’t do for him to be upstaged, even by the event’s headliner — that paradoxically comprises the film’s weaker moments.\u003c/p>\n\u003cp>The supporting cast is highlighted by Jeffrey Wright’s deliciously villainous rendition of the silver-tongued, self-serving congressman Adam Clayton Powell Jr. Rustin’s prime antagonist, however, is cautious NAACP leader Roy Wilkins (a too-recognizable Chris Rock), perpetually concerned that FBI director J. Edgar Hoover (via the media) will use Rustin’s gay identity to discredit the movement.\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":"aside","attributes":{"named":{"postid":"arts_13909135","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These powerful men play second fiddle to a sometimes manic, sometimes melancholy, always charming Colman Domingo as Bayard Rustin. Julian Breece and Dustin Lance Black’s screenplay gives Domingo a steady stream of galvanizing speeches and punchy one-liners that put us squarely onboard with Rustin’s hard-won wisdom and daring, seize-the-moment crusade. (The preview audience at the AMC Kabuki was moved to applause and cheers more than once.)\u003c/p>\n\u003cfigure id=\"attachment_13937506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000.jpg\" alt=\"A man crouches in front of seated people in a living room, gesturing and talking excitedly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211112_16090_R_f_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left: Colman Domingo as Bayard Rustin, Jakeem Dante Powell as Norm, Ayana Workman as Eleanor and Lilli Kay as Rachelle in ‘Rustin.’ \u003ccite>(David Lee/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film’s structure is generally inspired by Mickey Rooney and Judy Garland (“let’s put on a show”), with a bigger operation and higher stakes. The movie squeezes Rustin’s life into the eight or so weeks in which he enlisted and supervised a corps of volunteers to raise funds, enroll attendees and organize the logistics from buses to bag lunches to cleanup.\u003c/p>\n\u003cp>Cresting on the National Mall, \u003cem>Rustin\u003c/em> is a triumphant film, a vindication and validation of Rustin’s personality and strategy. In the same moment, it wants us to take inspiration from the idealism of the Civil Rights Movement that nonviolence and mass participation can transform our society for the better. That’s a big lift in the current climate, admittedly, and the movie’s final slip into sentimentality feels like an admission that escapism is the flip side of activism.\u003c/p>\n\u003cp>Rustin encounters devastating setbacks, of course. At the outset of the film, King’s failure to back his mentor resulted in Rustin’s ouster from the Southern Christian Leadership Conference. Much later, Rustin is brutally beaten by a cop for refusing to sit in the rear of a Greyhound bus. (He is en route to forgive and make up with King, who he needs to convince to join the D.C. rally he’s planning.) \u003c/p>\n\u003cfigure id=\"attachment_13937505\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000.jpg\" alt=\"Two Black men lean towards each other while seated at bar\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20211014_04612_R_f_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo as Bayard Rustin and Johnny Ramey as Elias in ‘Rustin.’ \u003ccite>(David Lee/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His gay relationships provide comfort and pleasure, but also frustration. The movie evokes through vignettes (police raids on gay bars, the risk of public exposure) the fraught, pre-Stonewall lives of gay people, as well as the 50-something Rustin’s difficulty in integrating his personal and public lives. But Wolfe is careful — too careful, I submit — about limiting the intimacy we are allowed to witness.\u003c/p>\n\u003cp>Homosexuality is not the taboo in the Black community that it once was, but the film is far more comfortable talking about it than depicting it. Rustin shares one chaste kiss with his younger white lover, and has one evocative love scene with a married Black minister. Consequently, we don’t get a full measure of Rustin’s softness, vulnerability and need.\u003c/p>\n\u003cp>Rustin recorded a couple albums of spirituals — he had a lovely singing voice — that Kates used to fine effect on the soundtrack of \u003cem>Brother Outsider\u003c/em>. \u003cem>Rustin\u003c/em>, in contrast, includes a clumsy scene in which a character thrusts an instrument into the protagonist’s hands and impels him to play and sing a few bars. That moment encapsulates the limitations of biopics, which compress and shoehorn events and character development into a grand narrative tide.\u003c/p>\n\u003cfigure id=\"attachment_13937520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000.jpg\" alt=\"A Black man in a black suit stands on the Lincoln Memorial steps, small against the architecture and memorial\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13937520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RSTN_20220808_29393_R_f_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo as Bayard Rustin in ‘Rustin.’ \u003ccite>(Parrish Lewis/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first half of the movie, in particular, skips at a dynamic clip, and it’s easy to slip into its enjoyable, entertaining flow. Colman Domingo carries it the rest of the way, give or take a superfluous, poorly conceived shot that confirms King and Rustin’s reconciliation.\u003c/p>\n\u003cp>But we had long been convinced of Rustin’s contribution to that day, and beyond. And we also know he will always be an outsider. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>‘Rustin’ opens in select Bay Area theaters Nov. 3 and begins streaming on \u003ca href=\"https://www.netflix.com/title/81111528\">Netflix\u003c/a> Nov. 17.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2733","arts_7102","arts_585"],"featImg":"arts_13937507","label":"arts_140"},"arts_13931436":{"type":"posts","id":"arts_13931436","meta":{"index":"posts_1591205157","site":"arts","id":"13931436","score":null,"sort":[1690841771000]},"guestAuthors":[],"slug":"frances-albrier-black-red-cross-naacp-richmond-shipyard-berkeley-wwii-seniors","title":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","publishDate":1690841771,"format":"standard","headTitle":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]I[/dropcap]n 1940, an industrialist named Henry J. Kaiser was approached by the British government and asked to build ships to aid the United Kingdom’s World War II efforts. Kaiser was one of the main contractors responsible for building the Hoover Dam, and he had an impeccable reputation. To accommodate the UK’s request, Kaiser opened his first shipyard in Richmond, California. As the war ramped up and demand increased, Kaiser’s one shipyard turned into four. By the end of the war, tens of thousands of workers in Richmond had built 747 ships — more than any other shipyard in America.\u003c/p>\n\u003cp>[aside postid='arts_13926548']By 1942, with so many men away at war, this Richmond hub was employing tens of thousands of women. That year, they hired their first ever Black female welder: Frances Albrier. At 44, Albrier had already done her part for the war effort, volunteering with the Red Cross as a nurse and first aid instructor. But presented with any opportunity to contribute to a collective good, the Berkeley resident always grabbed it with both hands.\u003c/p>\n\u003cp>In addition to her nursing and ship-building, Albrier also volunteered at Oakland’s De Fremery Park Hospitality House, a recreation center for soldiers. During this time, Albrier frequently used the letters pages of local newspapers to ask the public for donations that would benefit soldiers stationed all over the Bay. (At one point, she successfully acquired two pianos for a Berkeley camp of servicemen — one for church services, one for downtime. She knew small actions could have hugely positive impacts.)\u003c/p>\n\u003cfigure id=\"attachment_13932774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frances Albrier’s wartime Red Cross card, 1942. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though committed to helping everyone serving in World War II, Albrier was particularly concerned about the welfare of Black soldiers. After an incident of violence against Black servicemen stationed in Louisiana in 1942, Albrier wrote an impassioned plea to the \u003cem>Oakland Tribune\u003c/em>. Her letter said, in part:\u003c/p>\n\u003cblockquote>\u003cp>The Army has taken thousands of Negro men from the Northern, Eastern and Western sections and placed them in localities whose traditions and practices are to insult, beat, shoot and lynch them … Fair minded, liberal Christian white Americans should help their brothers of darker skin by protesting against these insults heaped on citizens who are doing their part to save our democracy, which they hope someday may exist for them also.\u003c/p>\u003c/blockquote>\n\u003cp>[dropcap]A[/dropcap]lbrier’s commitment to assisting the communities around her did not start — nor stop — with the war. Raised in Tuskegee, Alabama by her grandparents following her mother’s death, she graduated with a BA from Howard University in 1920\u003cstrong>.\u003c/strong> Albrier moved to Berkeley that year and, inspired by an Oakland meeting of Marcus Garvey’s Universal Negro Improvement Association, she volunteered as a \u003ca href=\"https://en.wikipedia.org/wiki/Black_Cross_Nurses\">Black Cross Nurse\u003c/a>. The Black Cross was a Red Cross-inspired organization specifically focused on the health needs of the Black community at a time when hospitals and medical offices were still segregated, including in California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon after that, during a five-year employment as a maid, manicurist and ticket-taker with Pullman Company first-class trains, Albrier helped her fellow maids and porters to unionize.\u003c/p>\n\u003cp>In 1938, Albrier served on the board of directors of the \u003ca href=\"https://en.wikipedia.org/wiki/National_Negro_Congress\">National Negro Congress\u003c/a> and became the first woman elected to the Alameda County Democratic Ventral Committee. All the while, she also passionately campaigned for Franklin D. Roosevelt, whom she had met on a Pullman train while he was the governor of New York. That same year, Albrier was president of the East Bay Women’s Welfare Club, which campaigned to employ more Black teachers in Berkeley schools and visited classrooms to inspire children of color. The club was also trying to get some Black representation in local government — which led Albrier, in 1939, to become the first ever Black person to run for Berkeley City Council.\u003c/p>\n\u003cp>[aside postid='arts_13916612']“I didn’t think I would be elected,” she said in 1977, “but … I received a great many votes. My idea of running was to meet the people. I knew that if I ran for city council, I would be invited to the clubs and organizations to give my views on the city government.” Albrier went on: “I wanted to tell them that we had 5,000 [Black] taxpayers without any representation in the city government or the schools of Berkeley. That was the message I wanted to get over to them.”\u003c/p>\n\u003cp>Albrier didn’t need to be a political candidate to become embedded with “the clubs” however. Throughout the 1940s, ’50s and ’60s, Albrier held prominent positions at an astonishing number of organizations. These included: the NAACP (both Alameda County and Berkeley branches), the Department of Women in Industry, the California Association of Colored Women’s Clubs, the Citizens Employment Council, National Council of Negro Women (San Francisco chapter), the Ladies Auxiliary Dining Car Union, East Bay Women’s Missionary Fellowship and the Golden Gate Democratic Club. There was also the Negro Cultural and Historical Society, the Democratic Women’s Study Club, the East Bay Negro Historical Society and the Berkeley Women’s Town Council.\u003c/p>\n\u003cfigure id=\"attachment_13932194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg\" alt=\"Six membership cards belonging to Frances Albrier from the organizations: the National Council of Negro Women, the Negro Non-Partisan League of California Inc., the Southern Pacific Company, The California Farmer-Labor-Consumer Committee to Combat Inflation, the Ladies Auxiliary of Dining Car Employees Union and the State, County and Municipal Workers of America.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Frances Albrier’s membership cards from throughout her life of service. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Albrier’s motivations for being involved in so many different causes were reflected in one “Thought of the day” notecard she wrote to herself in the late 1940s. “We have prayed together during the stirring, anxious, tragic years of war,” she wrote in neat cursive. “Now we have peace and we are profoundly grateful to God. We must, however, continue to pray with the same earnestness, the same faith and constancy. The problems of peace are many, as serious and as disturbing as those of wartime. And they demand a courage equal to that called for by the fiery trials of the war years.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he fire that drove Albrier back then never cooled. As she strode towards her senior years, she became concerned about the welfare of the elderly — particularly those that were impoverished and did not have families to fall back on. (Albrier herself had raised three children — William, Betty and Anita — from her first marriage to William Albert Jackson. Four years after Jackson’s death, she married Willie Antoine Albrier.)\u003c/p>\n\u003cp>[aside postid='pop_102326']Once again, Albrier got involved in any way that she could. In 1965, Albrier was appointed to the City of Berkeley’s Committee on Aging. She acted as a senior community representative at the Berkeley Senior Center. By 1971, she’d been called on to act as a delegate at the White House Conference on Aging. (The gathering’s express purpose was to solidify a “comprehensive national policy” for aging Americans.) Albrier spent five years on the board of directors for the South Berkeley Model Cities Neighborhood Council. In that role, she was key in establishing \u003ca href=\"https://www.seniorhousingnet.com/seniorliving-detail/harriet-tubman-terrance_2870-adeline-st_berkeley_ca_94703-530621\">Harriet Tubman Terrace\u003c/a> — housing for low income seniors. Albrier even delivered meals (and companionship) to the elderly and infirm — something the City of Berkeley recognized with an award in 1978.\u003c/p>\n\u003cp>After a life thoroughly well-lived, Frances Albrier died on Aug. 21, 1987. She left behind 11 grandchildren, 15 great-grandchildren and too many admirers, friends and supporters to count. Before she was buried at the Sunset View Cemetery in her beloved Berkeley, her family released an obituary that paid tribute to the incredible impacts Albrier made in her 88 years.\u003c/p>\n\u003cp>“She served as a role model and inspiration for innumerable educators, politicians and community service groups,” they wrote. “It might be said of Frances Albrier that she was a living example of the philosophy ‘Be all you can be.’ Suffice it to say that all of us who have touched the hem of her garment will always serve our communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Berkeley's Frances Albrier dedicated her life to serving the Black community, women, seniors, workers and soldiers.","status":"publish","parent":0,"modified":1705092359,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1382},"headData":{"title":"Frances Albrier: Remembering the WW2 Nurse, Welder, Activist | KQED","description":"Berkeley's Frances Albrier dedicated her life to serving the Black community, women, seniors, workers and soldiers.","ogTitle":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","ogDescription":"","ogImgId":"","twTitle":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","twDescription":"","twImgId":"","socialTitle":"Frances Albrier: Remembering the WW2 Nurse, Welder, Activist %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/747c6b62-8869-4b3a-ab4b-b06701489cac/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931436/frances-albrier-black-red-cross-naacp-richmond-shipyard-berkeley-wwii-seniors","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1940, an industrialist named Henry J. Kaiser was approached by the British government and asked to build ships to aid the United Kingdom’s World War II efforts. Kaiser was one of the main contractors responsible for building the Hoover Dam, and he had an impeccable reputation. To accommodate the UK’s request, Kaiser opened his first shipyard in Richmond, California. As the war ramped up and demand increased, Kaiser’s one shipyard turned into four. By the end of the war, tens of thousands of workers in Richmond had built 747 ships — more than any other shipyard in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By 1942, with so many men away at war, this Richmond hub was employing tens of thousands of women. That year, they hired their first ever Black female welder: Frances Albrier. At 44, Albrier had already done her part for the war effort, volunteering with the Red Cross as a nurse and first aid instructor. But presented with any opportunity to contribute to a collective good, the Berkeley resident always grabbed it with both hands.\u003c/p>\n\u003cp>In addition to her nursing and ship-building, Albrier also volunteered at Oakland’s De Fremery Park Hospitality House, a recreation center for soldiers. During this time, Albrier frequently used the letters pages of local newspapers to ask the public for donations that would benefit soldiers stationed all over the Bay. (At one point, she successfully acquired two pianos for a Berkeley camp of servicemen — one for church services, one for downtime. She knew small actions could have hugely positive impacts.)\u003c/p>\n\u003cfigure id=\"attachment_13932774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frances Albrier’s wartime Red Cross card, 1942. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though committed to helping everyone serving in World War II, Albrier was particularly concerned about the welfare of Black soldiers. After an incident of violence against Black servicemen stationed in Louisiana in 1942, Albrier wrote an impassioned plea to the \u003cem>Oakland Tribune\u003c/em>. Her letter said, in part:\u003c/p>\n\u003cblockquote>\u003cp>The Army has taken thousands of Negro men from the Northern, Eastern and Western sections and placed them in localities whose traditions and practices are to insult, beat, shoot and lynch them … Fair minded, liberal Christian white Americans should help their brothers of darker skin by protesting against these insults heaped on citizens who are doing their part to save our democracy, which they hope someday may exist for them also.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>lbrier’s commitment to assisting the communities around her did not start — nor stop — with the war. Raised in Tuskegee, Alabama by her grandparents following her mother’s death, she graduated with a BA from Howard University in 1920\u003cstrong>.\u003c/strong> Albrier moved to Berkeley that year and, inspired by an Oakland meeting of Marcus Garvey’s Universal Negro Improvement Association, she volunteered as a \u003ca href=\"https://en.wikipedia.org/wiki/Black_Cross_Nurses\">Black Cross Nurse\u003c/a>. The Black Cross was a Red Cross-inspired organization specifically focused on the health needs of the Black community at a time when hospitals and medical offices were still segregated, including in California.\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>Soon after that, during a five-year employment as a maid, manicurist and ticket-taker with Pullman Company first-class trains, Albrier helped her fellow maids and porters to unionize.\u003c/p>\n\u003cp>In 1938, Albrier served on the board of directors of the \u003ca href=\"https://en.wikipedia.org/wiki/National_Negro_Congress\">National Negro Congress\u003c/a> and became the first woman elected to the Alameda County Democratic Ventral Committee. All the while, she also passionately campaigned for Franklin D. Roosevelt, whom she had met on a Pullman train while he was the governor of New York. That same year, Albrier was president of the East Bay Women’s Welfare Club, which campaigned to employ more Black teachers in Berkeley schools and visited classrooms to inspire children of color. The club was also trying to get some Black representation in local government — which led Albrier, in 1939, to become the first ever Black person to run for Berkeley City Council.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I didn’t think I would be elected,” she said in 1977, “but … I received a great many votes. My idea of running was to meet the people. I knew that if I ran for city council, I would be invited to the clubs and organizations to give my views on the city government.” Albrier went on: “I wanted to tell them that we had 5,000 [Black] taxpayers without any representation in the city government or the schools of Berkeley. That was the message I wanted to get over to them.”\u003c/p>\n\u003cp>Albrier didn’t need to be a political candidate to become embedded with “the clubs” however. Throughout the 1940s, ’50s and ’60s, Albrier held prominent positions at an astonishing number of organizations. These included: the NAACP (both Alameda County and Berkeley branches), the Department of Women in Industry, the California Association of Colored Women’s Clubs, the Citizens Employment Council, National Council of Negro Women (San Francisco chapter), the Ladies Auxiliary Dining Car Union, East Bay Women’s Missionary Fellowship and the Golden Gate Democratic Club. There was also the Negro Cultural and Historical Society, the Democratic Women’s Study Club, the East Bay Negro Historical Society and the Berkeley Women’s Town Council.\u003c/p>\n\u003cfigure id=\"attachment_13932194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg\" alt=\"Six membership cards belonging to Frances Albrier from the organizations: the National Council of Negro Women, the Negro Non-Partisan League of California Inc., the Southern Pacific Company, The California Farmer-Labor-Consumer Committee to Combat Inflation, the Ladies Auxiliary of Dining Car Employees Union and the State, County and Municipal Workers of America.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Frances Albrier’s membership cards from throughout her life of service. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Albrier’s motivations for being involved in so many different causes were reflected in one “Thought of the day” notecard she wrote to herself in the late 1940s. “We have prayed together during the stirring, anxious, tragic years of war,” she wrote in neat cursive. “Now we have peace and we are profoundly grateful to God. We must, however, continue to pray with the same earnestness, the same faith and constancy. The problems of peace are many, as serious and as disturbing as those of wartime. And they demand a courage equal to that called for by the fiery trials of the war years.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he fire that drove Albrier back then never cooled. As she strode towards her senior years, she became concerned about the welfare of the elderly — particularly those that were impoverished and did not have families to fall back on. (Albrier herself had raised three children — William, Betty and Anita — from her first marriage to William Albert Jackson. Four years after Jackson’s death, she married Willie Antoine Albrier.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102326","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Once again, Albrier got involved in any way that she could. In 1965, Albrier was appointed to the City of Berkeley’s Committee on Aging. She acted as a senior community representative at the Berkeley Senior Center. By 1971, she’d been called on to act as a delegate at the White House Conference on Aging. (The gathering’s express purpose was to solidify a “comprehensive national policy” for aging Americans.) Albrier spent five years on the board of directors for the South Berkeley Model Cities Neighborhood Council. In that role, she was key in establishing \u003ca href=\"https://www.seniorhousingnet.com/seniorliving-detail/harriet-tubman-terrance_2870-adeline-st_berkeley_ca_94703-530621\">Harriet Tubman Terrace\u003c/a> — housing for low income seniors. Albrier even delivered meals (and companionship) to the elderly and infirm — something the City of Berkeley recognized with an award in 1978.\u003c/p>\n\u003cp>After a life thoroughly well-lived, Frances Albrier died on Aug. 21, 1987. She left behind 11 grandchildren, 15 great-grandchildren and too many admirers, friends and supporters to count. Before she was buried at the Sunset View Cemetery in her beloved Berkeley, her family released an obituary that paid tribute to the incredible impacts Albrier made in her 88 years.\u003c/p>\n\u003cp>“She served as a role model and inspiration for innumerable educators, politicians and community service groups,” they wrote. “It might be said of Frances Albrier that she was a living example of the philosophy ‘Be all you can be.’ Suffice it to say that all of us who have touched the hem of her garment will always serve our communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\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>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931436/frances-albrier-black-red-cross-naacp-richmond-shipyard-berkeley-wwii-seniors","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_835","arts_7862","arts_11615"],"tags":["arts_4459","arts_1270","arts_2733","arts_10278","arts_21841","arts_2479","arts_21264","arts_3038"],"featImg":"arts_13932521","label":"arts_8978"},"arts_13920416":{"type":"posts","id":"arts_13920416","meta":{"index":"posts_1591205157","site":"arts","id":"13920416","score":null,"sort":[1665779136000]},"guestAuthors":[],"slug":"emmett-till-is-known-for-his-death-a-new-film-about-his-mother-also-honors-his-life","title":"Emmett Till Is Known For His Death. A New Film About His Mother Also Honors His Life","publishDate":1665779136,"format":"standard","headTitle":"Emmett Till Is Known For His Death. A New Film About His Mother Also Honors His Life | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Ever since it was announced, the movie \u003cem>Till\u003c/em> has spurred a lot of questions about how it would portray its disturbing real-life events. There have been countless poems, songs, plays and documentaries about Emmett Till, whose 1955 lynching — by two white men who were ultimately acquitted — provoked a national outcry that helped ignite the American civil rights movement. But the idea of a Hollywood movie on the subject has given some Black critics and audiences pause, especially those who feel that too many films and TV shows focus on Black pain and trauma, even with the best of intentions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2020/01/05/793827599/filmmaker-chinonye-chukwu-on-the-making-of-clemency\" target=\"_blank\" rel=\"noopener noreferrer\">Chinonye Chukwu\u003c/a>, the director and co-writer of \u003cem>Till,\u003c/em> is clearly aware of these potential criticisms. She’s said in interviews that she wanted to avoid exploiting Till’s torture and murder and instead shift the perspective to his widowed mother, Mamie Till-Mobley, and her brave pursuit of justice.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13917642']\u003c/span>Mamie is played by Danielle Deadwyler, whose superb performance holds you even through the movie’s toughest moments. And \u003cem>Till\u003c/em> is often piercing to watch, even during the early scenes of Mamie and Emmett together at home in Chicago, which are filled with a sense of foreboding. Emmett, an outgoing, high-spirited 14-year-old played by Jalyn Hall, is about to visit relatives in Mississippi. And Mamie, who grew up down there, warns her son — whom she calls “Bo” — to be on his guard.\u003c/p>\n\u003cp>The movie follows Emmett as he arrives in Money, a small sharecropper town in the Mississippi Delta, and spends a few happy days with his great-uncle, great-aunt and cousins. But then comes the moment when he enters a grocery store and tries to start a conversation with the white proprietor, Carolyn Bryant, played by Haley Bennett.\u003c/p>\n\u003cp>There’s been much dispute over the years about what happened during that fateful interaction. Witnesses have said that Emmett whistled at Bryant. Bryant testified in court that Emmett was verbally and physically aggressive, a claim that she would later admit was a lie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rkQi6GBwmSA\u003c/p>\n\u003cp>In the film, Emmett tells Bryant that she looks like a movie star and whistles at her, to his cousins’ horror. They flee and try to lie low, but a few nights later, Bryant’s husband, Roy, and his half-brother show up where Emmett is staying and abduct him at gunpoint. Chukwu doesn’t show any of the violence that happens next; all we see is a brief shot of the barn where Emmett is taken, accompanied by the sound of distant screaming.\u003c/p>\n\u003cp>I have a lot of respect for Chukwu’s thoughtfulness here, which is consistent with the intelligence and restraint she displayed in her searing death-row drama, \u003cem>Clemency\u003c/em>. But the camera doesn’t look away when Mamie goes to identify Emmett’s body, which had been found dumped in a river and transported back to Chicago. The movie can’t \u003cem>not\u003c/em> show us the horror that Mamie sees. It was her decision, after all, to hold an open-casket funeral and invite reporters to photograph Emmett’s body, to show the world what racist violence looked like.\u003c/p>\n\u003cp>[aside postid='arts_13920428']\u003cem>Till \u003c/em>captures how Mamie arrived at that difficult decision, torn between her instinct to retreat into her pain and her growing realization, aided by members of the NAACP, that Emmett’s death might bring about social change. As shattering as Deadwyler is in her expressions of Mamie’s anguish, the most powerful moments are those in which you see her thinking, weighing her responses and sometimes even suppressing her grief and rage. At one point, Chukwu simply holds the camera steady on Mamie’s face as she testifies at trial about the son she loved and lost. It’s painful to watch her silently enduring the defense’s shameless attempts to discredit her, even as she knows that the all-white jury will let the killers go free.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Till\u003c/em> does hit a few standard inspirational beats, like when Mamie meets the future civil rights leader and martyr Medgar Evers, nicely played by Tosin Cole, and when she delivers a stirring public speech that marks her arrival as a civil rights activist. It also has a lot of unexpected warmth and humor, much of it supplied by Whoopi Goldberg in a terrific turn as Mamie’s loving mother, Alma. And Chukwu, for all her dramatic restraint, fills Mamie’s scenes with her family and friends with striking visual beauty, from the clothes that Mamie wears to the golden sunlight pouring in through her window. At one point Mamie imagines seeing her son alive and well again, a choice that could have been overly sentimental but here feels like a gesture of compassion. The movie’s saying, this is how we should remember Emmett Till — not just as he died, but as he lived.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emmett+Till+is+known+for+his+death.+A+new+film+about+his+mother+also+honors+his+life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\n","blocks":[],"excerpt":"'Till' tells the story of Emmett Till's mother, who helped ignite the Civil Rights movement.","status":"publish","parent":0,"modified":1705006269,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":852},"headData":{"title":"Emmett Till Is Known For His Death. A New Film About His Mother Also Honors His Life | KQED","description":"'Till' tells the story of Emmett Till's mother, who helped ignite the Civil Rights movement.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Lynsey Weatherspoon","nprByline":"Justin Chang","nprImageAgency":"Orion Pictures","nprStoryId":"1128373914","nprApiLink":"http://api.npr.org/query?id=1128373914&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/10/14/1128373914/emmett-till-mother-mamie-film-review-chinonye-chukwu?ft=nprml&f=1128373914","nprRetrievedStory":"1","nprPubDate":"Fri, 14 Oct 2022 13:32:00 -0400","nprStoryDate":"Fri, 14 Oct 2022 09:56:36 -0400","nprLastModifiedDate":"Fri, 14 Oct 2022 09:59:00 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/10/20221014_fa_02.mp3?orgId=427869011&topicId=4467349&d=408&p=13&story=1128373914&ft=nprml&f=1128373914","nprAudioM3u":"http://api.npr.org/m3u/11129158653-672e5b.m3u?orgId=427869011&topicId=4467349&d=408&p=13&story=1128373914&ft=nprml&f=1128373914","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13920416/emmett-till-is-known-for-his-death-a-new-film-about-his-mother-also-honors-his-life","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/10/20221014_fa_02.mp3?orgId=427869011&topicId=4467349&d=408&p=13&story=1128373914&ft=nprml&f=1128373914","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since it was announced, the movie \u003cem>Till\u003c/em> has spurred a lot of questions about how it would portray its disturbing real-life events. There have been countless poems, songs, plays and documentaries about Emmett Till, whose 1955 lynching — by two white men who were ultimately acquitted — provoked a national outcry that helped ignite the American civil rights movement. But the idea of a Hollywood movie on the subject has given some Black critics and audiences pause, especially those who feel that too many films and TV shows focus on Black pain and trauma, even with the best of intentions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2020/01/05/793827599/filmmaker-chinonye-chukwu-on-the-making-of-clemency\" target=\"_blank\" rel=\"noopener noreferrer\">Chinonye Chukwu\u003c/a>, the director and co-writer of \u003cem>Till,\u003c/em> is clearly aware of these potential criticisms. She’s said in interviews that she wanted to avoid exploiting Till’s torture and murder and instead shift the perspective to his widowed mother, Mamie Till-Mobley, and her brave pursuit of justice.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917642","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Mamie is played by Danielle Deadwyler, whose superb performance holds you even through the movie’s toughest moments. And \u003cem>Till\u003c/em> is often piercing to watch, even during the early scenes of Mamie and Emmett together at home in Chicago, which are filled with a sense of foreboding. Emmett, an outgoing, high-spirited 14-year-old played by Jalyn Hall, is about to visit relatives in Mississippi. And Mamie, who grew up down there, warns her son — whom she calls “Bo” — to be on his guard.\u003c/p>\n\u003cp>The movie follows Emmett as he arrives in Money, a small sharecropper town in the Mississippi Delta, and spends a few happy days with his great-uncle, great-aunt and cousins. But then comes the moment when he enters a grocery store and tries to start a conversation with the white proprietor, Carolyn Bryant, played by Haley Bennett.\u003c/p>\n\u003cp>There’s been much dispute over the years about what happened during that fateful interaction. Witnesses have said that Emmett whistled at Bryant. Bryant testified in court that Emmett was verbally and physically aggressive, a claim that she would later admit was a lie.\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/rkQi6GBwmSA'\n title='//www.youtube.com/embed/rkQi6GBwmSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the film, Emmett tells Bryant that she looks like a movie star and whistles at her, to his cousins’ horror. They flee and try to lie low, but a few nights later, Bryant’s husband, Roy, and his half-brother show up where Emmett is staying and abduct him at gunpoint. Chukwu doesn’t show any of the violence that happens next; all we see is a brief shot of the barn where Emmett is taken, accompanied by the sound of distant screaming.\u003c/p>\n\u003cp>I have a lot of respect for Chukwu’s thoughtfulness here, which is consistent with the intelligence and restraint she displayed in her searing death-row drama, \u003cem>Clemency\u003c/em>. But the camera doesn’t look away when Mamie goes to identify Emmett’s body, which had been found dumped in a river and transported back to Chicago. The movie can’t \u003cem>not\u003c/em> show us the horror that Mamie sees. It was her decision, after all, to hold an open-casket funeral and invite reporters to photograph Emmett’s body, to show the world what racist violence looked like.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920428","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Till \u003c/em>captures how Mamie arrived at that difficult decision, torn between her instinct to retreat into her pain and her growing realization, aided by members of the NAACP, that Emmett’s death might bring about social change. As shattering as Deadwyler is in her expressions of Mamie’s anguish, the most powerful moments are those in which you see her thinking, weighing her responses and sometimes even suppressing her grief and rage. At one point, Chukwu simply holds the camera steady on Mamie’s face as she testifies at trial about the son she loved and lost. It’s painful to watch her silently enduring the defense’s shameless attempts to discredit her, even as she knows that the all-white jury will let the killers go free.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Till\u003c/em> does hit a few standard inspirational beats, like when Mamie meets the future civil rights leader and martyr Medgar Evers, nicely played by Tosin Cole, and when she delivers a stirring public speech that marks her arrival as a civil rights activist. It also has a lot of unexpected warmth and humor, much of it supplied by Whoopi Goldberg in a terrific turn as Mamie’s loving mother, Alma. And Chukwu, for all her dramatic restraint, fills Mamie’s scenes with her family and friends with striking visual beauty, from the clothes that Mamie wears to the golden sunlight pouring in through her window. At one point Mamie imagines seeing her son alive and well again, a choice that could have been overly sentimental but here feels like a gesture of compassion. The movie’s saying, this is how we should remember Emmett Till — not just as he died, but as he lived.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emmett+Till+is+known+for+his+death.+A+new+film+about+his+mother+also+honors+his+life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920416/emmett-till-is-known-for-his-death-a-new-film-about-his-mother-also-honors-his-life","authors":["byline_arts_13920416"],"categories":["arts_1"],"tags":["arts_5426","arts_2733","arts_977"],"affiliates":["arts_137"],"featImg":"arts_13920417","label":"arts_137"},"arts_13918238":{"type":"posts","id":"arts_13918238","meta":{"index":"posts_1591205157","site":"arts","id":"13918238","score":null,"sort":[1661883897000]},"guestAuthors":[],"slug":"jada-imani-rosa-parks-jubilee","title":"Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish","publishDate":1661883897,"format":"standard","headTitle":"Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The video for Jada Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s “\u003ca href=\"https://www.youtube.com/watch?v=EUXGDLZ5hF4\" target=\"_blank\" rel=\"noopener noreferrer\">Rosa Parks\u003c/a>” features black-and-white footage of civil rights-era marches spliced with modern-day shots of Imani sitting at a bus stop in West Oakland. At times she\u003cspan style=\"font-weight: 400\">’\u003c/span>s joyously dancing. In another instance Imani stares deadpan into the camera, a look that conveys more emotion than words.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rosa Parks Official Music Video\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/EUXGDLZ5hF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s very confrontational,” \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> tells me, noting the intended target of the glare are the folks who uphold the construct of white supremacy. Imani, who is originally from East St. Louis and raised in Oakland, says, “Black folks have been leading cultural and systemic revolutions for so long, and we’re still here and there’s still something to say. We’re not done.”\u003c/span>\u003c/p>\n\u003cp>The video, directed by \u003ca href=\"https://www.instagram.com/zoemountain/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoe Mountain\u003c/a> and shot by \u003ca href=\"https://www.instagram.com/doreanraye/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorean Raye,\u003c/a> combines the piercing gaze with Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s dancing jubilation, as well as archival footage of Black women smiling and putting their feet in the pool on the Washington Mall. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s a complementary aesthetic for a track that has a classy, swing-jazz vibe with a modern, glossy R&B finish.\u003c/p>\n\u003cp>The song, which originally started off as a freestyle, features the guitar of \u003ca href=\"https://www.instagram.com/themisajames/\" target=\"_blank\" rel=\"noopener noreferrer\">Misa James \u003c/a>and was produced by \u003ca href=\"https://www.instagram.com/willrandolphv/\" target=\"_blank\" rel=\"noopener noreferrer\">Will Randolph V\u003c/a>. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s featured on Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s latest EP\u003cem> \u003ca href=\"https://open.spotify.com/album/5cBKigC7xi5eqW8ME6ChFK\" target=\"_blank\" rel=\"noopener noreferrer\">JUBILEE II\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The entire project is both celebration and a call to action. This song in particular honors Rosa Parks by name, but Jada Imani says it\u003cspan style=\"font-weight: 400\">’\u003c/span>s an homage to numerous freedom fighters who came before us, including \u003ca href=\"https://www.npr.org/2009/03/15/101719889/before-rosa-parks-there-was-claudette-colvin\" target=\"_blank\" rel=\"noopener noreferrer\">Claudette Colvin\u003c/a>. [aside postid='arts_13917938']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s really implant that we know about her because she sacrificed the same way Rosa Parks did, and a lot of people just don’t know her name,” says Imani, who made it a point to highlight Colvin’s story in \u003ca href=\"https://www.instagram.com/reel/ChSjWoPJsRp/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">a recent Instagram post\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On September 15, ten days after Colvin\u003cspan style=\"font-weight: 400\">’\u003c/span>s birthday and ten days before her own, Imani will bring her solemn stare, her joyful dancing and her catchy tunes into KQED\u003cspan style=\"font-weight: 400\">’\u003c/span>s headquarters for a performance alongside \u003ca href=\"https://www.instagram.com/salamirosejoelouis/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s \u003ca href=\"https://smartbomboakland.bandcamp.com/music\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB \u003c/a>comrade \u003ca href=\"https://www.instagram.com/spotebreeze/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Spote Breeze\u003c/a>. \u003ca href=\"https://www.kqed.org/event/2387\" target=\"_blank\" rel=\"noopener noreferrer\">More info here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"The single from her 'JUBILEE II' EP celebrates the women of the civil rights movement.","status":"publish","parent":0,"modified":1705006438,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":387},"headData":{"title":"Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish | KQED","description":"The single from her 'JUBILEE II' EP celebrates the women of the civil rights movement.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"... Nobody Can Take Her Spot.","excludeFromSiteSearch":"Include","path":"/arts/13918238/jada-imani-rosa-parks-jubilee","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The video for Jada Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s “\u003ca href=\"https://www.youtube.com/watch?v=EUXGDLZ5hF4\" target=\"_blank\" rel=\"noopener noreferrer\">Rosa Parks\u003c/a>” features black-and-white footage of civil rights-era marches spliced with modern-day shots of Imani sitting at a bus stop in West Oakland. At times she\u003cspan style=\"font-weight: 400\">’\u003c/span>s joyously dancing. In another instance Imani stares deadpan into the camera, a look that conveys more emotion than words.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rosa Parks Official Music Video\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/EUXGDLZ5hF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s very confrontational,” \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> tells me, noting the intended target of the glare are the folks who uphold the construct of white supremacy. Imani, who is originally from East St. Louis and raised in Oakland, says, “Black folks have been leading cultural and systemic revolutions for so long, and we’re still here and there’s still something to say. We’re not done.”\u003c/span>\u003c/p>\n\u003cp>The video, directed by \u003ca href=\"https://www.instagram.com/zoemountain/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoe Mountain\u003c/a> and shot by \u003ca href=\"https://www.instagram.com/doreanraye/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorean Raye,\u003c/a> combines the piercing gaze with Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s dancing jubilation, as well as archival footage of Black women smiling and putting their feet in the pool on the Washington Mall. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s a complementary aesthetic for a track that has a classy, swing-jazz vibe with a modern, glossy R&B finish.\u003c/p>\n\u003cp>The song, which originally started off as a freestyle, features the guitar of \u003ca href=\"https://www.instagram.com/themisajames/\" target=\"_blank\" rel=\"noopener noreferrer\">Misa James \u003c/a>and was produced by \u003ca href=\"https://www.instagram.com/willrandolphv/\" target=\"_blank\" rel=\"noopener noreferrer\">Will Randolph V\u003c/a>. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s featured on Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s latest EP\u003cem> \u003ca href=\"https://open.spotify.com/album/5cBKigC7xi5eqW8ME6ChFK\" target=\"_blank\" rel=\"noopener noreferrer\">JUBILEE II\u003c/a>. \u003c/em>\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>The entire project is both celebration and a call to action. This song in particular honors Rosa Parks by name, but Jada Imani says it\u003cspan style=\"font-weight: 400\">’\u003c/span>s an homage to numerous freedom fighters who came before us, including \u003ca href=\"https://www.npr.org/2009/03/15/101719889/before-rosa-parks-there-was-claudette-colvin\" target=\"_blank\" rel=\"noopener noreferrer\">Claudette Colvin\u003c/a>. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s really implant that we know about her because she sacrificed the same way Rosa Parks did, and a lot of people just don’t know her name,” says Imani, who made it a point to highlight Colvin’s story in \u003ca href=\"https://www.instagram.com/reel/ChSjWoPJsRp/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">a recent Instagram post\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On September 15, ten days after Colvin\u003cspan style=\"font-weight: 400\">’\u003c/span>s birthday and ten days before her own, Imani will bring her solemn stare, her joyful dancing and her catchy tunes into KQED\u003cspan style=\"font-weight: 400\">’\u003c/span>s headquarters for a performance alongside \u003ca href=\"https://www.instagram.com/salamirosejoelouis/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s \u003ca href=\"https://smartbomboakland.bandcamp.com/music\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB \u003c/a>comrade \u003ca href=\"https://www.instagram.com/spotebreeze/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Spote Breeze\u003c/a>. \u003ca href=\"https://www.kqed.org/event/2387\" target=\"_blank\" rel=\"noopener noreferrer\">More info here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918238/jada-imani-rosa-parks-jubilee","authors":["11491"],"categories":["arts_1","arts_69"],"tags":["arts_2733","arts_10278","arts_11028","arts_1143","arts_13240","arts_924"],"featImg":"arts_13918317","label":"arts"},"arts_13916840":{"type":"posts","id":"arts_13916840","meta":{"index":"posts_1591205157","site":"arts","id":"13916840","score":null,"sort":[1659375512000]},"guestAuthors":[],"slug":"the-day-bill-russell-roasted-me-at-mcclymonds","title":"The Day Bill Russell Roasted Me At McClymonds","publishDate":1659375512,"format":"audio","headTitle":"The Day Bill Russell Roasted Me At McClymonds | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I met the late Bill Russell in 2012, I knew all about the awards and championships. I read articles on the racism he faced on and off the court, as well as his civil rights work. And of course, I knew about his upbringing in Oakland. But I didn’t know about his sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13916848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07541-800x532.jpg\" alt=\"Mr. Bill Russell with a student and staff at McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell with a student and staff at McClymonds High School in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Mr. Russell, my name is Pen,” I respectfully introduced myself, in the parking lot of his alma mater. He instantly questioned me.\u003c/p>\n\u003cp>“Pen, did you catch him?” he asked in a serious tone.\u003c/p>\n\u003cp>Caught off-guard, I responded, “Uhhhh, catch who?”\u003c/p>\n\u003cp>Pointing at my long beard, he says, “The gentleman who stole your razor!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roasted. He got me.\u003c/p>\n\u003cp>The interaction made for a perfect entry in my \u003ca href=\"https://ogtoldme.tumblr.com/post/18941506501/i-went-to-introduce-myself-to-bill-russell-og\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a> series, a photoessay dedicated to documenting the wisdom of older Black men in my community. It wasn’t that he’d said anything profound, necessarily. It was what he’d showed me: that simply comical interaction from a person who has so many badges of honor is a mark of humility (served to me with a small side of humiliation).\u003c/p>\n\u003cfigure id=\"attachment_13916846\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg\" alt=\"A school security guard and Mr. Bill Russell share a laugh.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A school security guard and Bill Russell share a laugh. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>uring that stop at McClymonds High School, he visited classrooms, media production spaces and athletic facilities. I followed as the campus security guards turned into little boys in his presence. School administrators giggled. The loud students got shy. Russell interacted with them all.\u003c/p>\n\u003cp>With the assistance of a student, a teacher and artist named Rose Marr had just completed a portrait of Russell. She was noticeably excited as she showed it to him. He smiled and laughed, asked her about another artist, and then mentioned that he was that artist’s first teacher.\u003c/p>\n\u003cfigure id=\"attachment_13916851\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg\" alt=\"Artist and educator Rose Marr meeting Mr. Bill Russell for the first time.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator Rose Marr meeting Bill Russell for the first time. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most memorable was Russell’s reaction to the wall inside the center used for after school programs. That’s where I led a class. A list of agreements for students who occupied that space included things like, “Step Up, Step Back” and “Clean Up After Yourself.”\u003c/p>\n\u003cp>You ever laugh because you hear someone’s else’s laugh? That’s what happened when I heard the laugh that erupted from Russell as he read the rule of “No Booty on Duty.”\u003c/p>\n\u003cfigure id=\"attachment_13916847\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg\" alt='Agreements set by students in the after school space, including \"no booty on duty.\"' width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Agreements set by students in the after school space, including “No Booty on Duty.” \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s what I kept thinking about when I read the news that Bill Russell passed at the age of 88 yesterday morning, a sad day for sports fans, social justice advocates and Bay Area folks alike. I just keep smiling and laughing, thinking about the run-in we had in West Oakland. It’s often mentioned, but they don’t talk \u003cem>enough\u003c/em> about Bill Russell’s sense of humor.\u003c/p>\n\u003cp>Russell’s greatness is well documented. A graduate of Oakland’s McClymonds High School, who won two NCAA national championships as a USF Don and a 1956 Olympic Gold with team USA. He’d go on to win 11 NBA championships, become the first African American coach in pro sports and a receive a Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003cfigure id=\"attachment_13916852\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916852\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg\" alt=\"Rapper, producer and educator Azure meets with Mr. Bill Russell in the McClymonds audio program's studio.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rapper, producer and educator Azure meets with Bill Russell in the McClymonds audio program’s studio. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Russell’s efforts to fight racism in America are widely known. He was present at Rev. Martin Luther King Jr.’s “I Have A Dream” speech. He led a basketball camp in Mississippi after the assassination of Medgar Evers. An outspoken supporter of \u003ca href=\"https://twitter.com/RealBillRussell/status/1101090173222154240?s=20&t=sCjVcOsN-HGXoK1v2JS0YA\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Kaepernick\u003c/a> and a critic of American policing, in the wake of George Floyd’s murder \u003ca href=\"https://www.slamonline.com/the-magazine/bill-russells-lifelong-fight-against-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">Russell penned an essay\u003c/a> about his lifelong battle with racism.\u003c/p>\n\u003cp>The photo from the meeting known as the \u003ca href=\"https://andscape.com/features/the-cleveland-summit-muhammad-ali/\" target=\"_blank\" rel=\"noopener noreferrer\">Muhammad Ali Summit or the Cleveland Summit\u003c/a>—a conference of famed professional athletes including Muhammad Ali, Jim Brown and Kareem Abdul-Jabbar—is one of the most iconic images in sports history.\u003c/p>\n\u003cp>But the image of Russell \u003ca href=\"https://www.youtube.com/watch?v=WH4Z8kddGe4\" target=\"_blank\" rel=\"noopener noreferrer\">flipping the bird at Charles Barkley\u003c/a> during an NBA award show in 2018 gives you a glance at the guy I followed around with a camera for a few minutes in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13916850\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg\" alt=\"Inside of an elevator with a school security guard and Mr. Bill Russell at McClymonds High School.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Inside of an elevator with a school security guard and Bill Russell at McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> got to ride on an elevator with a human who represents American history. Before being part of one of the greatest professional sports dynasties ever, he was part of the Great Migration.\u003c/p>\n\u003cp>After a childhood in West Monroe, Louisiana, he moved with his family to West Oakland, and to a high school environment that produced athletes like Vada Pinson Jr. (former MLB player), Curt Flood (former MLB player and free agency advocate) and Frank Robinson (MLB superstar and the first African American MLB manager).\u003c/p>\n\u003cfigure id=\"attachment_13916849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07533-800x532.jpg\" alt=\"Bill Russell getting a student-led tour of McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell getting a student-led tour of McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Names like those used to be listed on a Distinguished McClymonds Graduates wall that wasn’t too far from where the “No Booty on Duty” agreements were listed. What’s funny is I don’t recall Russell’s reaction to seeing the names on that wall—not even his own. But I’ll never forget how the entire school responded to seeing one of the names on that wall in real life.\u003c/p>\n\n","blocks":[],"excerpt":"Along with his championships and awards, Bill Russell had a sparkling sense of humor. ","status":"publish","parent":0,"modified":1705006549,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":953},"headData":{"title":"The Day Bill Russell Roasted Me At McClymonds | KQED","description":"Along with his championships and awards, Bill Russell had a sparkling sense of humor. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2022/08/HarshawWolffe2way.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13916840/the-day-bill-russell-roasted-me-at-mcclymonds","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I met the late Bill Russell in 2012, I knew all about the awards and championships. I read articles on the racism he faced on and off the court, as well as his civil rights work. And of course, I knew about his upbringing in Oakland. But I didn’t know about his sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13916848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07541-800x532.jpg\" alt=\"Mr. Bill Russell with a student and staff at McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell with a student and staff at McClymonds High School in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Mr. Russell, my name is Pen,” I respectfully introduced myself, in the parking lot of his alma mater. He instantly questioned me.\u003c/p>\n\u003cp>“Pen, did you catch him?” he asked in a serious tone.\u003c/p>\n\u003cp>Caught off-guard, I responded, “Uhhhh, catch who?”\u003c/p>\n\u003cp>Pointing at my long beard, he says, “The gentleman who stole your razor!”\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>Roasted. He got me.\u003c/p>\n\u003cp>The interaction made for a perfect entry in my \u003ca href=\"https://ogtoldme.tumblr.com/post/18941506501/i-went-to-introduce-myself-to-bill-russell-og\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a> series, a photoessay dedicated to documenting the wisdom of older Black men in my community. It wasn’t that he’d said anything profound, necessarily. It was what he’d showed me: that simply comical interaction from a person who has so many badges of honor is a mark of humility (served to me with a small side of humiliation).\u003c/p>\n\u003cfigure id=\"attachment_13916846\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg\" alt=\"A school security guard and Mr. Bill Russell share a laugh.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A school security guard and Bill Russell share a laugh. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>uring that stop at McClymonds High School, he visited classrooms, media production spaces and athletic facilities. I followed as the campus security guards turned into little boys in his presence. School administrators giggled. The loud students got shy. Russell interacted with them all.\u003c/p>\n\u003cp>With the assistance of a student, a teacher and artist named Rose Marr had just completed a portrait of Russell. She was noticeably excited as she showed it to him. He smiled and laughed, asked her about another artist, and then mentioned that he was that artist’s first teacher.\u003c/p>\n\u003cfigure id=\"attachment_13916851\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg\" alt=\"Artist and educator Rose Marr meeting Mr. Bill Russell for the first time.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator Rose Marr meeting Bill Russell for the first time. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most memorable was Russell’s reaction to the wall inside the center used for after school programs. That’s where I led a class. A list of agreements for students who occupied that space included things like, “Step Up, Step Back” and “Clean Up After Yourself.”\u003c/p>\n\u003cp>You ever laugh because you hear someone’s else’s laugh? That’s what happened when I heard the laugh that erupted from Russell as he read the rule of “No Booty on Duty.”\u003c/p>\n\u003cfigure id=\"attachment_13916847\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg\" alt='Agreements set by students in the after school space, including \"no booty on duty.\"' width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Agreements set by students in the after school space, including “No Booty on Duty.” \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s what I kept thinking about when I read the news that Bill Russell passed at the age of 88 yesterday morning, a sad day for sports fans, social justice advocates and Bay Area folks alike. I just keep smiling and laughing, thinking about the run-in we had in West Oakland. It’s often mentioned, but they don’t talk \u003cem>enough\u003c/em> about Bill Russell’s sense of humor.\u003c/p>\n\u003cp>Russell’s greatness is well documented. A graduate of Oakland’s McClymonds High School, who won two NCAA national championships as a USF Don and a 1956 Olympic Gold with team USA. He’d go on to win 11 NBA championships, become the first African American coach in pro sports and a receive a Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003cfigure id=\"attachment_13916852\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916852\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg\" alt=\"Rapper, producer and educator Azure meets with Mr. Bill Russell in the McClymonds audio program's studio.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rapper, producer and educator Azure meets with Bill Russell in the McClymonds audio program’s studio. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Russell’s efforts to fight racism in America are widely known. He was present at Rev. Martin Luther King Jr.’s “I Have A Dream” speech. He led a basketball camp in Mississippi after the assassination of Medgar Evers. An outspoken supporter of \u003ca href=\"https://twitter.com/RealBillRussell/status/1101090173222154240?s=20&t=sCjVcOsN-HGXoK1v2JS0YA\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Kaepernick\u003c/a> and a critic of American policing, in the wake of George Floyd’s murder \u003ca href=\"https://www.slamonline.com/the-magazine/bill-russells-lifelong-fight-against-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">Russell penned an essay\u003c/a> about his lifelong battle with racism.\u003c/p>\n\u003cp>The photo from the meeting known as the \u003ca href=\"https://andscape.com/features/the-cleveland-summit-muhammad-ali/\" target=\"_blank\" rel=\"noopener noreferrer\">Muhammad Ali Summit or the Cleveland Summit\u003c/a>—a conference of famed professional athletes including Muhammad Ali, Jim Brown and Kareem Abdul-Jabbar—is one of the most iconic images in sports history.\u003c/p>\n\u003cp>But the image of Russell \u003ca href=\"https://www.youtube.com/watch?v=WH4Z8kddGe4\" target=\"_blank\" rel=\"noopener noreferrer\">flipping the bird at Charles Barkley\u003c/a> during an NBA award show in 2018 gives you a glance at the guy I followed around with a camera for a few minutes in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13916850\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg\" alt=\"Inside of an elevator with a school security guard and Mr. Bill Russell at McClymonds High School.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Inside of an elevator with a school security guard and Bill Russell at McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> got to ride on an elevator with a human who represents American history. Before being part of one of the greatest professional sports dynasties ever, he was part of the Great Migration.\u003c/p>\n\u003cp>After a childhood in West Monroe, Louisiana, he moved with his family to West Oakland, and to a high school environment that produced athletes like Vada Pinson Jr. (former MLB player), Curt Flood (former MLB player and free agency advocate) and Frank Robinson (MLB superstar and the first African American MLB manager).\u003c/p>\n\u003cfigure id=\"attachment_13916849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07533-800x532.jpg\" alt=\"Bill Russell getting a student-led tour of McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell getting a student-led tour of McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Names like those used to be listed on a Distinguished McClymonds Graduates wall that wasn’t too far from where the “No Booty on Duty” agreements were listed. What’s funny is I don’t recall Russell’s reaction to seeing the names on that wall—not even his own. But I’ll never forget how the entire school responded to seeing one of the names on that wall in real life.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916840/the-day-bill-russell-roasted-me-at-mcclymonds","authors":["11491"],"categories":["arts_1","arts_1564","arts_13238"],"tags":["arts_2733","arts_10342","arts_10278","arts_5787","arts_1143","arts_9159"],"featImg":"arts_13916941","label":"arts"},"arts_13916363":{"type":"posts","id":"arts_13916363","meta":{"index":"posts_1591205157","site":"arts","id":"13916363","score":null,"sort":[1658505631000]},"guestAuthors":[],"slug":"dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened","title":"Dave and Iola Brubeck, Louis Armstrong and the Civil Rights Musical That Never Happened","publishDate":1658505631,"format":"aside","headTitle":"Dave and Iola Brubeck, Louis Armstrong and the Civil Rights Musical That Never Happened | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13916512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916512 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-800x626.jpeg\" alt=\"\" width=\"800\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-800x626.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1020x798.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-160x125.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-768x601.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1536x1202.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-2048x1603.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1920x1503.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Real Ambassadors’ at their daylong rehearsal, Monday, Sept. 17, 1962, at San Francisco’s St. Francis Hotel. Back row, left to right, Howard Brubeck, Danny Barcelona, Eugene Wright, Joe Morello, Billy Cronk, Dave Lambert, Yolande Bavan, Jon Hendricks, and Iola Brubeck; front row, left to right, Trummy Young, Carmen McRae, Louis Armstrong and Dave Brubeck. \u003ccite>(Photo by V.M. Hanks, courtesy of the Brubeck Collection, Wilton, CT Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The civil rights movement produced some of the last century’s most powerful songs and images—but it also bristles with roads not taken. On the cultural front, few projects offer a more tantalizing possible alternate history than \u003cem>The Real Ambassadors\u003c/em>, a thwarted jazz opera that confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.\u003c/p>\n\u003cp>Intended for Broadway and designed to showcase the genius of trumpeter and vocalist Louis Armstrong, the project was the brainchild of jazz pianist Dave Brubeck and his wife, the lyricist and actress Iola Brubeck; the couple conceived of the work while living in the Oakland hills in the late 1950s. An ardent integrationist, the Concord-raised Brubeck was known for putting his wallet on the line: he lost the modern-day equivalent of hundreds of thousands of dollars when his tours in the South were canceled because Brubeck refused to replace Eugene Wright, the commanding African-American bassist who anchored his quartet.\u003c/p>\n\u003cp>A new book by Keith Hatschek, also called \u003cem>The Real Ambassadors\u003c/em> (\u003ca href=\"https://www.upress.state.ms.us/Books/T/The-Real-Ambassadors\">University Press of Mississippi\u003c/a>), tells the frustrating but briefly triumphant story of the musical’s creation. On Monday, July 25, Hatschek is scheduled to speak at \u003ca href=\"https://birdbeckett.com/real-ambassadors-7-25-22/\">Bird & Beckett Books and Records in San Francisco\u003c/a>, where he’ll appear in conversation with pianist Simon Rowe, former executive director of the Brubeck Institute at the University of the Pacific.\u003c/p>\n\u003cp>Inspired by U.S. State Department-sponsored international tours that deployed Brubeck, Armstrong and other jazz musicians as cultural ambassadors representing the freedom and creativity of American culture, the musical confronted the U.S. government’s hypocrisy: how could it celebrate African-American music abroad while not fighting racism at home? The emotional climax of the musical arrives with Armstrong’s anguished vocals on the Brubecks’ “They Say I Look Like God,” a song that envisions God as Black.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YtTL-Z5EyEY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Brubecks were never able to bring a full production of \u003cem>The Real Ambassadors\u003c/em> to the stage—Armstrong’s rapacious manager Joe Glaser strung the couple along for years without committing to a concrete plan. But Columbia Records released the bulk of the score on a 1962 album featuring the Dave Brubeck Quartet, the Louis Armstrong All-Stars, Carmen McRae and the hugely popular vocalese combo Lambert, Hendricks and Ross. A few weeks later, the music premiered with largely the same glittering cast at the 1962 Monterey Jazz Festival.\u003c/p>\n\u003cp>Brubeck’s star was still ascending when he and Iola started working on \u003cem>The Real Ambassadors,\u003c/em> though the media had already tagged him as the face of modern jazz; Time Magazine put him on the cover in 1954. The fact that Brubeck’s label agreed to record the music reflected just how much higher that star had risen by 1962, following the success of the 1959 album \u003cem>Time Out\u003c/em>, featuring the monumental “Take Five.”\u003c/p>\n\u003cp>“No way does Columbia underwrite the $10,000 cost if ‘Take Five’ isn’t on top,” says Hatschek. “Brubeck got one freebie from Columbia, and this is the thing he chose to do.”\u003c/p>\n\u003cfigure id=\"attachment_13916518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-23-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-23-800x1044.jpeg\" alt=\"A trumpeter, Louis Armstrong, smiles onstage with another musician, Dave Brubeck, laughing behind him\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-800x1044.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1020x1331.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-160x209.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-768x1002.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1177x1536.jpeg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1570x2048.jpeg 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1920x2505.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-scaled.jpeg 1962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Real Ambassadors’ premiere at the Monterey Jazz Festival on Sept. 23, 1962. Pictured, left to right, are Iola Brubeck (lower left background), Louis Armstrong, Dave Brubeck, and Trummy Young (partially obscured). \u003ccite>(Photo by Jerry Stoll, courtesy of Brubeck Collection, Wilton CT Public Library © Dave Brubeck )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hatschek, a professor emeritus of music management and music industry at the University of the Pacific, came upon the largely forgotten story of \u003cem>The Real Ambassadors\u003c/em> while sifting through the massive Brubeck Archives at UoP, the pianist’s alma mater (he also studied composition at Mills College). Plunging into the extensive files for the musical, he found a story that unfolded largely in the Bay Area.\u003c/p>\n\u003cp>“Dave and Iola are living up in Montclair when they’re working on the music and lyrics, between driving their kids up and down the hill for music lessons,” says Hatschek. “And in the days before the Monterey performance, Armstrong is staying at the St. Francis Hotel while he’s playing at the Fairmont, where they did their one rehearsal in the ballroom.”\u003c/p>\n\u003cfigure id=\"attachment_13916516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-35-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-35-800x628.jpeg\" alt=\"four seated musicians practice in a black and white photo from the 1960s\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-800x628.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-1020x801.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-768x603.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-1536x1206.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-2048x1609.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-1920x1508.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Taking a break during their daylong rehearsal at the St. Francis Hotel in San Francisco a week before the premiere of The Real Ambassadors: pictured, left to right, Trummy Young, Carmen McRae, Louis Armstrong, Dave Lambert and Yolande Bavan. \u003ccite>(Photo by V.M. Hanks, courtesy of Brubeck Collection, Wilton CT Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for that alternate possible history: Would a Broadway production have hastened the advent of civil rights legislation? Probably not. But it’s hard to overstate the impact \u003cem>The Real Ambassadors\u003c/em> could have had on the national conversation. Armstrong was the most highly paid Black entertainer of the era, an international superstar who radically reshaped jazz in the late 1920s and essentially invented the American vocal idiom ushered into pop culture by Bing Crosby.\u003c/p>\n\u003cp>While his ebullient stage persona started to strike younger African-Americans as passé in the late 1950s, Armstrong never pulled punches when asked about racism. Queried by a high school journalist about the 1957 crisis over integrating \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14620516\">Little Rock’s Central High School, \u003c/a>he bitterly denounced President Eisenhower’s inaction. Pressured to say he was misquoted, Armstrong refused and his remarks reverberated around the world for weeks.\u003c/p>\n\u003cp>The combination of Armstrong’s profile and\u003cem> The Real Ambassadors’\u003c/em> politics alone would have made a theatrical run a major story. But the music was also inspired, with several songs that were more than standard-worthy. Iola Brubeck’s lyrics for the exquisite melody “Summer Song” inspired a transcendent performance that ranks among Armstrong’s very best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IN8Vby2j1PI\u003c/p>\n\u003cp>In fact, what stands out in Hatschek’s account—almost as much as the Brubecks’ herculean efforts to bring the musical to the stage—is the role that Iola played in her husband’s career. Drummer Dan Brubeck, one of their six children, launched an effort to reappraise her contributions with his 2015 album \u003cem>Live From the Cellar: Celebrating the Music and Lyrics of Dave and Iola Brubeck. \u003c/em>More than a skilled lyricist, she was the force that guided his career, transforming him from an idiosyncratic jazz cat interested in classical music forms into an iconic figure.\u003c/p>\n\u003cp>“I think she really genuinely believed that he had something really special to say,” says Dan Brubeck, who performs with bassist, trombonist, composer and older sibling Chris Brubeck in \u003ca href=\"http://www.brubeckbrothers.com/performances/\">the Brubeck Brothers\u003c/a> at Los Gatos’s Jazz on the Plazz (Aug. 10), San Jose Jazz’s \u003ca href=\"https://summerfest.sanjosejazz.org\">Summer Fest\u003c/a> (Aug. 13) and the \u003ca href=\"http://montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> (Sept. 25). “She got behind him and used all that intelligence, thinking out of the box. When they started having kids and she was seeing him struggling professionally, she came up with the ‘Jazz Goes to College’ idea. She started calling universities to set up concerts, and making dates at radio stations, which provided free publicity.”\u003c/p>\n\u003cfigure id=\"attachment_13916515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP42-5-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP42-5-800x1398.jpeg\" alt=\"a black and white photo of a man and a woman, smiling with their arms around each other in front of a tree\" width=\"800\" height=\"1398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-800x1398.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-1020x1782.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-160x280.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-768x1342.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-879x1536.jpeg 879w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-1172x2048.jpeg 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-scaled.jpeg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iola and Dave Brubeck shown in September 1942 just prior to their wedding. He was a U.S. Army private stationed at Camp Haan in Riverside, and Iola was finishing her second year at College of the Pacific in Stockton, from which Dave graduated in June of that year. \u003ccite>(Courtesy of Brubeck Collection, Wilton CT Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hatschek agrees with Dan’s assessment, crediting Iola for Dave’s prolific career. \u003cem>The Real Ambassadors\u003c/em> was their first major collaboration, and while it never quite took flight, it’s an important part of her legacy: it provided a template for a string of successful creative ventures from the pair.\u003c/p>\n\u003cp>“One thing I’m anxious for people to learn is that [Iola] was an incredibly astute business woman with the soul of an artist,” says Hatschek. “She was an actress, writer and director who started on stage in high school. She always kept an ear open for creative ideas. The later works they did together, the oratorios, the Christmas cantata—she was guiding the direction.”\u003c/p>\n\u003cp>“I’ve been known to say that were it not for Iola Brubeck, we would probably not know who Dave Brubeck was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Keith Hatschek will be in conversation with pianist Simon Rowe, former executive director of the Brubeck Institute at the University of the Pacific, at 7:30pm on Monday, July 25, at Bird & Beckett Books in San Francisco. \u003ca href=\"https://birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new book reveals the story of 'The Real Ambassadors,' a thwarted piece of musical theater about racism and the U.S. government.","status":"publish","parent":0,"modified":1705006578,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1538},"headData":{"title":"Dave and Iola Brubeck, Louis Armstrong and the Civil Rights Musical That Never Happened | KQED","description":"A new book reveals the story of 'The Real Ambassadors,' a thwarted piece of musical theater about racism and the U.S. government.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13916512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916512 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-800x626.jpeg\" alt=\"\" width=\"800\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-800x626.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1020x798.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-160x125.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-768x601.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1536x1202.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-2048x1603.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1920x1503.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Real Ambassadors’ at their daylong rehearsal, Monday, Sept. 17, 1962, at San Francisco’s St. Francis Hotel. Back row, left to right, Howard Brubeck, Danny Barcelona, Eugene Wright, Joe Morello, Billy Cronk, Dave Lambert, Yolande Bavan, Jon Hendricks, and Iola Brubeck; front row, left to right, Trummy Young, Carmen McRae, Louis Armstrong and Dave Brubeck. \u003ccite>(Photo by V.M. Hanks, courtesy of the Brubeck Collection, Wilton, CT Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The civil rights movement produced some of the last century’s most powerful songs and images—but it also bristles with roads not taken. On the cultural front, few projects offer a more tantalizing possible alternate history than \u003cem>The Real Ambassadors\u003c/em>, a thwarted jazz opera that confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.\u003c/p>\n\u003cp>Intended for Broadway and designed to showcase the genius of trumpeter and vocalist Louis Armstrong, the project was the brainchild of jazz pianist Dave Brubeck and his wife, the lyricist and actress Iola Brubeck; the couple conceived of the work while living in the Oakland hills in the late 1950s. An ardent integrationist, the Concord-raised Brubeck was known for putting his wallet on the line: he lost the modern-day equivalent of hundreds of thousands of dollars when his tours in the South were canceled because Brubeck refused to replace Eugene Wright, the commanding African-American bassist who anchored his quartet.\u003c/p>\n\u003cp>A new book by Keith Hatschek, also called \u003cem>The Real Ambassadors\u003c/em> (\u003ca href=\"https://www.upress.state.ms.us/Books/T/The-Real-Ambassadors\">University Press of Mississippi\u003c/a>), tells the frustrating but briefly triumphant story of the musical’s creation. On Monday, July 25, Hatschek is scheduled to speak at \u003ca href=\"https://birdbeckett.com/real-ambassadors-7-25-22/\">Bird & Beckett Books and Records in San Francisco\u003c/a>, where he’ll appear in conversation with pianist Simon Rowe, former executive director of the Brubeck Institute at the University of the Pacific.\u003c/p>\n\u003cp>Inspired by U.S. State Department-sponsored international tours that deployed Brubeck, Armstrong and other jazz musicians as cultural ambassadors representing the freedom and creativity of American culture, the musical confronted the U.S. government’s hypocrisy: how could it celebrate African-American music abroad while not fighting racism at home? The emotional climax of the musical arrives with Armstrong’s anguished vocals on the Brubecks’ “They Say I Look Like God,” a song that envisions God as Black.\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/YtTL-Z5EyEY'\n title='//www.youtube.com/embed/YtTL-Z5EyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>The Brubecks were never able to bring a full production of \u003cem>The Real Ambassadors\u003c/em> to the stage—Armstrong’s rapacious manager Joe Glaser strung the couple along for years without committing to a concrete plan. But Columbia Records released the bulk of the score on a 1962 album featuring the Dave Brubeck Quartet, the Louis Armstrong All-Stars, Carmen McRae and the hugely popular vocalese combo Lambert, Hendricks and Ross. A few weeks later, the music premiered with largely the same glittering cast at the 1962 Monterey Jazz Festival.\u003c/p>\n\u003cp>Brubeck’s star was still ascending when he and Iola started working on \u003cem>The Real Ambassadors,\u003c/em> though the media had already tagged him as the face of modern jazz; Time Magazine put him on the cover in 1954. The fact that Brubeck’s label agreed to record the music reflected just how much higher that star had risen by 1962, following the success of the 1959 album \u003cem>Time Out\u003c/em>, featuring the monumental “Take Five.”\u003c/p>\n\u003cp>“No way does Columbia underwrite the $10,000 cost if ‘Take Five’ isn’t on top,” says Hatschek. “Brubeck got one freebie from Columbia, and this is the thing he chose to do.”\u003c/p>\n\u003cfigure id=\"attachment_13916518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-23-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-23-800x1044.jpeg\" alt=\"A trumpeter, Louis Armstrong, smiles onstage with another musician, Dave Brubeck, laughing behind him\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-800x1044.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1020x1331.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-160x209.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-768x1002.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1177x1536.jpeg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1570x2048.jpeg 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-1920x2505.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-23-scaled.jpeg 1962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Real Ambassadors’ premiere at the Monterey Jazz Festival on Sept. 23, 1962. Pictured, left to right, are Iola Brubeck (lower left background), Louis Armstrong, Dave Brubeck, and Trummy Young (partially obscured). \u003ccite>(Photo by Jerry Stoll, courtesy of Brubeck Collection, Wilton CT Public Library © Dave Brubeck )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hatschek, a professor emeritus of music management and music industry at the University of the Pacific, came upon the largely forgotten story of \u003cem>The Real Ambassadors\u003c/em> while sifting through the massive Brubeck Archives at UoP, the pianist’s alma mater (he also studied composition at Mills College). Plunging into the extensive files for the musical, he found a story that unfolded largely in the Bay Area.\u003c/p>\n\u003cp>“Dave and Iola are living up in Montclair when they’re working on the music and lyrics, between driving their kids up and down the hill for music lessons,” says Hatschek. “And in the days before the Monterey performance, Armstrong is staying at the St. Francis Hotel while he’s playing at the Fairmont, where they did their one rehearsal in the ballroom.”\u003c/p>\n\u003cfigure id=\"attachment_13916516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-35-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-35-800x628.jpeg\" alt=\"four seated musicians practice in a black and white photo from the 1960s\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-800x628.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-1020x801.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-768x603.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-1536x1206.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-2048x1609.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP62-35-1920x1508.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Taking a break during their daylong rehearsal at the St. Francis Hotel in San Francisco a week before the premiere of The Real Ambassadors: pictured, left to right, Trummy Young, Carmen McRae, Louis Armstrong, Dave Lambert and Yolande Bavan. \u003ccite>(Photo by V.M. Hanks, courtesy of Brubeck Collection, Wilton CT Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for that alternate possible history: Would a Broadway production have hastened the advent of civil rights legislation? Probably not. But it’s hard to overstate the impact \u003cem>The Real Ambassadors\u003c/em> could have had on the national conversation. Armstrong was the most highly paid Black entertainer of the era, an international superstar who radically reshaped jazz in the late 1920s and essentially invented the American vocal idiom ushered into pop culture by Bing Crosby.\u003c/p>\n\u003cp>While his ebullient stage persona started to strike younger African-Americans as passé in the late 1950s, Armstrong never pulled punches when asked about racism. Queried by a high school journalist about the 1957 crisis over integrating \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14620516\">Little Rock’s Central High School, \u003c/a>he bitterly denounced President Eisenhower’s inaction. Pressured to say he was misquoted, Armstrong refused and his remarks reverberated around the world for weeks.\u003c/p>\n\u003cp>The combination of Armstrong’s profile and\u003cem> The Real Ambassadors’\u003c/em> politics alone would have made a theatrical run a major story. But the music was also inspired, with several songs that were more than standard-worthy. Iola Brubeck’s lyrics for the exquisite melody “Summer Song” inspired a transcendent performance that ranks among Armstrong’s very best.\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/IN8Vby2j1PI'\n title='//www.youtube.com/embed/IN8Vby2j1PI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In fact, what stands out in Hatschek’s account—almost as much as the Brubecks’ herculean efforts to bring the musical to the stage—is the role that Iola played in her husband’s career. Drummer Dan Brubeck, one of their six children, launched an effort to reappraise her contributions with his 2015 album \u003cem>Live From the Cellar: Celebrating the Music and Lyrics of Dave and Iola Brubeck. \u003c/em>More than a skilled lyricist, she was the force that guided his career, transforming him from an idiosyncratic jazz cat interested in classical music forms into an iconic figure.\u003c/p>\n\u003cp>“I think she really genuinely believed that he had something really special to say,” says Dan Brubeck, who performs with bassist, trombonist, composer and older sibling Chris Brubeck in \u003ca href=\"http://www.brubeckbrothers.com/performances/\">the Brubeck Brothers\u003c/a> at Los Gatos’s Jazz on the Plazz (Aug. 10), San Jose Jazz’s \u003ca href=\"https://summerfest.sanjosejazz.org\">Summer Fest\u003c/a> (Aug. 13) and the \u003ca href=\"http://montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> (Sept. 25). “She got behind him and used all that intelligence, thinking out of the box. When they started having kids and she was seeing him struggling professionally, she came up with the ‘Jazz Goes to College’ idea. She started calling universities to set up concerts, and making dates at radio stations, which provided free publicity.”\u003c/p>\n\u003cfigure id=\"attachment_13916515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP42-5-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP42-5-800x1398.jpeg\" alt=\"a black and white photo of a man and a woman, smiling with their arms around each other in front of a tree\" width=\"800\" height=\"1398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-800x1398.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-1020x1782.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-160x280.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-768x1342.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-879x1536.jpeg 879w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-1172x2048.jpeg 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DBP42-5-scaled.jpeg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Iola and Dave Brubeck shown in September 1942 just prior to their wedding. He was a U.S. Army private stationed at Camp Haan in Riverside, and Iola was finishing her second year at College of the Pacific in Stockton, from which Dave graduated in June of that year. \u003ccite>(Courtesy of Brubeck Collection, Wilton CT Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hatschek agrees with Dan’s assessment, crediting Iola for Dave’s prolific career. \u003cem>The Real Ambassadors\u003c/em> was their first major collaboration, and while it never quite took flight, it’s an important part of her legacy: it provided a template for a string of successful creative ventures from the pair.\u003c/p>\n\u003cp>“One thing I’m anxious for people to learn is that [Iola] was an incredibly astute business woman with the soul of an artist,” says Hatschek. “She was an actress, writer and director who started on stage in high school. She always kept an ear open for creative ideas. The later works they did together, the oratorios, the Christmas cantata—she was guiding the direction.”\u003c/p>\n\u003cp>“I’ve been known to say that were it not for Iola Brubeck, we would probably not know who Dave Brubeck was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\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>Keith Hatschek will be in conversation with pianist Simon Rowe, former executive director of the Brubeck Institute at the University of the Pacific, at 7:30pm on Monday, July 25, at Bird & Beckett Books in San Francisco. \u003ca href=\"https://birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened","authors":["86"],"categories":["arts_1","arts_73","arts_69"],"tags":["arts_928","arts_2733","arts_10278","arts_1420","arts_1143"],"featImg":"arts_13916502","label":"arts"},"arts_13912860":{"type":"posts","id":"arts_13912860","meta":{"index":"posts_1591205157","site":"arts","id":"13912860","score":null,"sort":[1652134960000]},"guestAuthors":[],"slug":"roe-v-wade-where-to-donate-abortion-reproductive-rights-supreme-court","title":"Concerned About Access to Abortion? Here’s How to Help","publishDate":1652134960,"format":"standard","headTitle":"Concerned About Access to Abortion? Here’s How to Help | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Update, June 24: \u003c/strong>The decision in Dobbs v. Jackson Women’s Health Organization was announced on June 24, overturning Roe v. Wade and eliminating the constitutional right to an abortion.\u003c/em>\u003c/p>\n\u003cp>\u003cem>California guarantees the right to abortion in statute and the state constitution. Our state’s abortion laws are the strongest in the United States. Both officials and abortion providers have made it very clear that \u003ca href=\"https://www.kqed.org/news/11917111/even-without-roe-v-wade-abortion-is-still-legal-in-california-heres-what-you-need-to-know\">abortion access in California will not change\u003c/a> because of the U.S. Supreme Court’s decision. \u003ca class=\"c-link\" href=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Read more about the overturning of Roe v. Wade\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Original story continues:\u003c/em>\u003c/p>\n\u003cp>On May 2, a leaked draft of a Supreme Court decision confirmed that the court plans to overturn Roe v. Wade, the landmark 1973 decision that guaranteed abortion access in the United States. Given that \u003ca href=\"https://www.brookings.edu/research/preventing-unplanned-pregnancy-lessons-from-the-states/\" target=\"_blank\" rel=\"noopener noreferrer\">45% of American pregnancies are unplanned\u003c/a>, and that about \u003ca href=\"https://www.npr.org/2022/05/08/1097458563/almost-half-of-the-states-plan-to-ban-or-limit-abortion-if-roe-v-wade-is-overtur\" target=\"_blank\" rel=\"noopener noreferrer\">half of U.S. states would immediately ban abortion\u003c/a> should Roe v. Wade be overturned, the impact on reproductive healthcare would be staggering.\u003c/p>\n\u003cp>Support for Roe v. Wade varies by state, but polling shows that \u003ca href=\"https://www.ppic.org/blog/a-broad-range-of-californians-oppose-overturning-roe-v-wade/\" target=\"_blank\" rel=\"noopener noreferrer\">81% of the Bay Area\u003c/a>, \u003ca href=\"https://www.ppic.org/blog/where-do-californians-stand-on-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">77% of California\u003c/a>, and \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">61% of American adults\u003c/a> believe abortion should be legal in most or all cases. If you’re among them, you’re probably wondering what you can possibly do, both at home and further afield.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At this point, there may be no way for any one person to stop the Supreme Court decision. But that doesn’t mean you have to feel helpless. Here are some concrete ways to take action.\u003c/p>\n\u003ch2>Donate to Abortion Rights Organizations\u003c/h2>\n\u003cp>Whether you want to donate your money or time, there are many worthy reproductive health organizations in need of assistance right now.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.reproductivefreedomca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Coalition for Reproductive Freedom\u003c/a> is a network of \u003ca href=\"https://www.reproductivefreedomca.org/member-list.html\" target=\"_blank\" rel=\"noopener noreferrer\">more than 40 organizations\u003c/a> around the state who are focused on safeguarding reproductive health rights. The coalition is made up of nonprofits that act at the policy level (like the \u003ca href=\"https://www.aclunc.org/home\" target=\"_blank\" rel=\"noopener noreferrer\">ACLU\u003c/a>, the \u003ca href=\"https://www.cwlc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Women’s Law Center\u003c/a>, \u003ca href=\"https://prochoicecalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NARAL\u003c/a>) as well as on the ground.\u003c/p>\n\u003cp>One member organization doing hands-on work is \u003ca href=\"https://accessrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Access Reproductive Justice\u003c/a>. ARJ offers assistance with finances, transportation, lodging, childcare and emotional issues for all individuals seeking abortions. Its \u003ca href=\"https://accessrj.org/case-study/access-reproductive-justice-healthline/\" target=\"_blank\" rel=\"noopener noreferrer\">healthline\u003c/a> also offers advice on the phone around every element of reproductive health, as well as insurance-related questions. Even in abortion-friendly California, a 2017 study found that \u003ca href=\"https://www.kqed.org/news/11896908/for-many-rural-and-lower-income-californians-abortion-services-remain-hard-to-access\" target=\"_blank\" rel=\"noopener noreferrer\">40% of counties, mostly rural, have zero clinics\u003c/a> that provide abortions. ARJ estimates a need of $1 million a year to assist every person that reaches out to them help. \u003ca href=\"https://give.accessrj.org/give/312683/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">You can donate here\u003c/a>.\u003c/p>\n\u003cp>If Roe v. Wade is overturned, one of the best ways to ensure your contribution will help those most affected is by \u003ca href=\"https://donate.abortionfunds.org/give/323375/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a> to the \u003ca href=\"https://abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds\u003c/a>. The organization is connected to reproductive health organizations across the entire United States, as well as some parts of Mexico. (It also happens to have a store, if you or a loved one urgently needs some \u003ca href=\"https://shop.abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">“FUND ABORTION” rhinestone hairpins\u003c/a>.) Should you want to be more specific about where your money goes, the NNAF website also features a \u003ca href=\"https://abortionfunds.org/need-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">comprehensive list of abortion funds, organized by state\u003c/a>.\u003c/p>\n\u003ch2>Understand Who Will Be Most Affected\u003c/h2>\n\u003cp>[aside postID='news_11913033,arts_13902723,news_11913160,arts_13911818,news_11913295']If Roe v. Wade is overturned, those who live in states where abortions are likely to become illegal (according to the \u003cem>\u003ca href=\"https://www.nytimes.com/interactive/2022/05/07/us/abortion-access-roe-v-wade.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em>, that’s 33.6 million reproductive-age women) will need to travel across state lines in order to reach abortion services. This added expense will disproportionately affect the poor, the working class, and people of color. According to \u003ca href=\"https://www.federalreserve.gov/econres/notes/feds-notes/wealth-inequality-and-the-racial-wealth-gap-20211022.htm\" target=\"_blank\" rel=\"noopener noreferrer\">2021 figures compiled by the Federal Reserve\u003c/a>, the average BIPOC household earns about half as much as the average white household, making out-of-state travel far more challenging.\u003c/p>\n\u003cp>\u003ca href=\"https://blackrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">In Our Own Voice\u003c/a> is a network of eight organizations in California, Georgia, Louisiana, Ohio, Pennsylvania, Tennessee and Texas that center Black women’s safety and access to reproductive healthcare. It is currently asking for \u003ca href=\"https://blackrj.networkforgood.com/\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a> and volunteers around the country \u003ca href=\"https://blackrj.org/getinvolved/rj-and-policy-change/\" target=\"_blank\" rel=\"noopener noreferrer\">to work strategically\u003c/a> with its partners.\u003c/p>\n\u003cp>\u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a> has a \u003ca href=\"https://www.iwrising.org/abortion-fund\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated abortion fund\u003c/a> to assist every Indigenous person in America and Canada that wants one.\u003c/p>\n\u003cp>Also facing more accessibility challenges than most are pregnant teens. \u003ca href=\"https://prochoice.org/advocates/support-our-work/\" target=\"_blank\" rel=\"noopener noreferrer\">The National Abortion Federation\u003c/a> operates a hotline specifically to assist them. By texting TEEN to 839863 or calling 1-800-852-8336, teenagers can seek out reproductive health care and advice.\u003c/p>\n\u003ch2>Take Action\u003c/h2>\n\u003cp>Call lawmakers and vote whenever you have the opportunity to do so. In 2020, the California Coalition for Reproductive Freedom collected eight different \u003ca href=\"https://www.reproductivefreedomca.org/2020-voter-guides.html\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides for that year’s elections\u003c/a>, focusing on the candidates who were most likely to safeguard reproductive healthcare. You can keep your eye on the resources section of their website for guidance on upcoming elections.\u003c/p>\n\u003cp>If you’re looking for a protest to join, \u003ca href=\"https://map.wewontgoback.com/\" target=\"_blank\" rel=\"noopener noreferrer\">We Won’t Go Back\u003c/a> offers a guide to upcoming marches, rallies and online meetings in your zip code. To get news about upcoming protests direct to your inbox, you can also \u003ca href=\"https://thekeypr.us4.list-manage.com/subscribe?u=14fffeab5ef0bd194b70375c5&id=9292a65d16&akid=.1793287.NI3r4m\" target=\"_blank\" rel=\"noopener noreferrer\">join the Women’s March mailing list\u003c/a>. (If you are unsure of your rights as a protester, you can consult this \u003ca href=\"https://www.aclu.org/know-your-rights/protesters-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">guide from the ACLU\u003c/a>.)\u003c/p>\n\u003ch2>Know That Abortion Isn’t ‘Just’ a Women’s Issue\u003c/h2>\n\u003cp>Though cisgender women will be most affected if Roe v. Wade is overturned, abortion bans have far-reaching consequences for everyone, including the loved ones of those seeking abortions. Transgender men and nonbinary folks get abortions too—around 500 of them in 2017 alone.\u003c/p>\n\u003cp>Pregnancy is significantly more dangerous than legal abortion. Between 2013 and 2018, \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">0.4 people per 100,000\u003c/a> died because of an abortion procedure. That’s compared to \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2020/maternal-mortality-rates-2020.htm\" target=\"_blank\" rel=\"noopener noreferrer\">18.2 Latinx people, 19.1 white people and 55.3 Black people per 100,000\u003c/a> who died while attempting to complete a pregnancy.\u003c/p>\n\u003cp>Death rates caused by illegal pre-Roe v. Wade abortion procedures are unclear. But in 2019, \u003ca href=\"https://www.washingtonpost.com/politics/2019/05/29/planned-parenthoods-false-stat-thousands-women-died-every-year-before-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Washington Post\u003c/em> fact-checkers reported that in the 1960s\u003c/a>, the annual number of women who died from an illegal abortion was officially under 300. The paper ultimately estimated that the actual number was realistically higher than 300 but lower than 1,000.\u003c/p>\n\u003ch2>Talk About It\u003c/h2>\n\u003cp>Openly talking about how abortion has affected your own life can help to de-stigmatize and humanize the issue for others. In 2017, a study showed that \u003ca href=\"https://www.guttmacher.org/news-release/2017/abortion-common-experience-us-women-despite-dramatic-declines-rates\" target=\"_blank\" rel=\"noopener noreferrer\">nearly one in four American women have an abortion by age 45\u003c/a>. If you are in a position to share your story, please consider doing so.\u003c/p>\n\u003cp>\u003ca href=\"https://www.advocatesforyouth.org/abortion-out-loud/abortion-out-loud-abortion-storytelling/\" target=\"_blank\" rel=\"noopener noreferrer\">Abortion Out Loud\u003c/a> has published 1,500 abortion stories and is always seeking more. \u003ca href=\"https://advocates.typeform.com/to/DgGgPF?typeform-source=www.advocatesforyouth.org\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your story here\u003c/a>. And Planned Parenthood’s “\u003ca href=\"https://www.plannedparenthood.org/about-us/newsroom/campaigns/abortion-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Our Abortions, Our Stories\u003c/a>” project is a powerful collection of quotes compiled with the belief that sharing accounts of abortion makes a difference in the lives of others. \u003ca href=\"https://www.weareplannedparenthood.org/onlineactions/WN3Ue7UcpUWFS4zAcjk3rg2?\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your experience here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Finally, if you’re feeling emotionally raw because of the news, talk to your friends, family and, if you have one, therapist. In the coming weeks, it’s important to find your network, seek out like-minded people to partner with, and get ready for the work ahead.\u003c/p>\n\n","blocks":[],"excerpt":"If you're among the 81% of Bay Area residents who don't want Roe v. Wade overturned, here's how to help.","status":"publish","parent":0,"modified":1705006875,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1218},"headData":{"title":"Concerned About Access to Abortion? Here’s How to Help | KQED","description":"If you're among the 81% of Bay Area residents who don't want Roe v. Wade overturned, here's how to help.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13912860/roe-v-wade-where-to-donate-abortion-reproductive-rights-supreme-court","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update, June 24: \u003c/strong>The decision in Dobbs v. Jackson Women’s Health Organization was announced on June 24, overturning Roe v. Wade and eliminating the constitutional right to an abortion.\u003c/em>\u003c/p>\n\u003cp>\u003cem>California guarantees the right to abortion in statute and the state constitution. Our state’s abortion laws are the strongest in the United States. Both officials and abortion providers have made it very clear that \u003ca href=\"https://www.kqed.org/news/11917111/even-without-roe-v-wade-abortion-is-still-legal-in-california-heres-what-you-need-to-know\">abortion access in California will not change\u003c/a> because of the U.S. Supreme Court’s decision. \u003ca class=\"c-link\" href=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Read more about the overturning of Roe v. Wade\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Original story continues:\u003c/em>\u003c/p>\n\u003cp>On May 2, a leaked draft of a Supreme Court decision confirmed that the court plans to overturn Roe v. Wade, the landmark 1973 decision that guaranteed abortion access in the United States. Given that \u003ca href=\"https://www.brookings.edu/research/preventing-unplanned-pregnancy-lessons-from-the-states/\" target=\"_blank\" rel=\"noopener noreferrer\">45% of American pregnancies are unplanned\u003c/a>, and that about \u003ca href=\"https://www.npr.org/2022/05/08/1097458563/almost-half-of-the-states-plan-to-ban-or-limit-abortion-if-roe-v-wade-is-overtur\" target=\"_blank\" rel=\"noopener noreferrer\">half of U.S. states would immediately ban abortion\u003c/a> should Roe v. Wade be overturned, the impact on reproductive healthcare would be staggering.\u003c/p>\n\u003cp>Support for Roe v. Wade varies by state, but polling shows that \u003ca href=\"https://www.ppic.org/blog/a-broad-range-of-californians-oppose-overturning-roe-v-wade/\" target=\"_blank\" rel=\"noopener noreferrer\">81% of the Bay Area\u003c/a>, \u003ca href=\"https://www.ppic.org/blog/where-do-californians-stand-on-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">77% of California\u003c/a>, and \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">61% of American adults\u003c/a> believe abortion should be legal in most or all cases. If you’re among them, you’re probably wondering what you can possibly do, both at home and further afield.\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>At this point, there may be no way for any one person to stop the Supreme Court decision. But that doesn’t mean you have to feel helpless. Here are some concrete ways to take action.\u003c/p>\n\u003ch2>Donate to Abortion Rights Organizations\u003c/h2>\n\u003cp>Whether you want to donate your money or time, there are many worthy reproductive health organizations in need of assistance right now.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.reproductivefreedomca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Coalition for Reproductive Freedom\u003c/a> is a network of \u003ca href=\"https://www.reproductivefreedomca.org/member-list.html\" target=\"_blank\" rel=\"noopener noreferrer\">more than 40 organizations\u003c/a> around the state who are focused on safeguarding reproductive health rights. The coalition is made up of nonprofits that act at the policy level (like the \u003ca href=\"https://www.aclunc.org/home\" target=\"_blank\" rel=\"noopener noreferrer\">ACLU\u003c/a>, the \u003ca href=\"https://www.cwlc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Women’s Law Center\u003c/a>, \u003ca href=\"https://prochoicecalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NARAL\u003c/a>) as well as on the ground.\u003c/p>\n\u003cp>One member organization doing hands-on work is \u003ca href=\"https://accessrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Access Reproductive Justice\u003c/a>. ARJ offers assistance with finances, transportation, lodging, childcare and emotional issues for all individuals seeking abortions. Its \u003ca href=\"https://accessrj.org/case-study/access-reproductive-justice-healthline/\" target=\"_blank\" rel=\"noopener noreferrer\">healthline\u003c/a> also offers advice on the phone around every element of reproductive health, as well as insurance-related questions. Even in abortion-friendly California, a 2017 study found that \u003ca href=\"https://www.kqed.org/news/11896908/for-many-rural-and-lower-income-californians-abortion-services-remain-hard-to-access\" target=\"_blank\" rel=\"noopener noreferrer\">40% of counties, mostly rural, have zero clinics\u003c/a> that provide abortions. ARJ estimates a need of $1 million a year to assist every person that reaches out to them help. \u003ca href=\"https://give.accessrj.org/give/312683/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">You can donate here\u003c/a>.\u003c/p>\n\u003cp>If Roe v. Wade is overturned, one of the best ways to ensure your contribution will help those most affected is by \u003ca href=\"https://donate.abortionfunds.org/give/323375/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a> to the \u003ca href=\"https://abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds\u003c/a>. The organization is connected to reproductive health organizations across the entire United States, as well as some parts of Mexico. (It also happens to have a store, if you or a loved one urgently needs some \u003ca href=\"https://shop.abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">“FUND ABORTION” rhinestone hairpins\u003c/a>.) Should you want to be more specific about where your money goes, the NNAF website also features a \u003ca href=\"https://abortionfunds.org/need-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">comprehensive list of abortion funds, organized by state\u003c/a>.\u003c/p>\n\u003ch2>Understand Who Will Be Most Affected\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11913033,arts_13902723,news_11913160,arts_13911818,news_11913295","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If Roe v. Wade is overturned, those who live in states where abortions are likely to become illegal (according to the \u003cem>\u003ca href=\"https://www.nytimes.com/interactive/2022/05/07/us/abortion-access-roe-v-wade.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em>, that’s 33.6 million reproductive-age women) will need to travel across state lines in order to reach abortion services. This added expense will disproportionately affect the poor, the working class, and people of color. According to \u003ca href=\"https://www.federalreserve.gov/econres/notes/feds-notes/wealth-inequality-and-the-racial-wealth-gap-20211022.htm\" target=\"_blank\" rel=\"noopener noreferrer\">2021 figures compiled by the Federal Reserve\u003c/a>, the average BIPOC household earns about half as much as the average white household, making out-of-state travel far more challenging.\u003c/p>\n\u003cp>\u003ca href=\"https://blackrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">In Our Own Voice\u003c/a> is a network of eight organizations in California, Georgia, Louisiana, Ohio, Pennsylvania, Tennessee and Texas that center Black women’s safety and access to reproductive healthcare. It is currently asking for \u003ca href=\"https://blackrj.networkforgood.com/\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a> and volunteers around the country \u003ca href=\"https://blackrj.org/getinvolved/rj-and-policy-change/\" target=\"_blank\" rel=\"noopener noreferrer\">to work strategically\u003c/a> with its partners.\u003c/p>\n\u003cp>\u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a> has a \u003ca href=\"https://www.iwrising.org/abortion-fund\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated abortion fund\u003c/a> to assist every Indigenous person in America and Canada that wants one.\u003c/p>\n\u003cp>Also facing more accessibility challenges than most are pregnant teens. \u003ca href=\"https://prochoice.org/advocates/support-our-work/\" target=\"_blank\" rel=\"noopener noreferrer\">The National Abortion Federation\u003c/a> operates a hotline specifically to assist them. By texting TEEN to 839863 or calling 1-800-852-8336, teenagers can seek out reproductive health care and advice.\u003c/p>\n\u003ch2>Take Action\u003c/h2>\n\u003cp>Call lawmakers and vote whenever you have the opportunity to do so. In 2020, the California Coalition for Reproductive Freedom collected eight different \u003ca href=\"https://www.reproductivefreedomca.org/2020-voter-guides.html\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides for that year’s elections\u003c/a>, focusing on the candidates who were most likely to safeguard reproductive healthcare. You can keep your eye on the resources section of their website for guidance on upcoming elections.\u003c/p>\n\u003cp>If you’re looking for a protest to join, \u003ca href=\"https://map.wewontgoback.com/\" target=\"_blank\" rel=\"noopener noreferrer\">We Won’t Go Back\u003c/a> offers a guide to upcoming marches, rallies and online meetings in your zip code. To get news about upcoming protests direct to your inbox, you can also \u003ca href=\"https://thekeypr.us4.list-manage.com/subscribe?u=14fffeab5ef0bd194b70375c5&id=9292a65d16&akid=.1793287.NI3r4m\" target=\"_blank\" rel=\"noopener noreferrer\">join the Women’s March mailing list\u003c/a>. (If you are unsure of your rights as a protester, you can consult this \u003ca href=\"https://www.aclu.org/know-your-rights/protesters-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">guide from the ACLU\u003c/a>.)\u003c/p>\n\u003ch2>Know That Abortion Isn’t ‘Just’ a Women’s Issue\u003c/h2>\n\u003cp>Though cisgender women will be most affected if Roe v. Wade is overturned, abortion bans have far-reaching consequences for everyone, including the loved ones of those seeking abortions. Transgender men and nonbinary folks get abortions too—around 500 of them in 2017 alone.\u003c/p>\n\u003cp>Pregnancy is significantly more dangerous than legal abortion. Between 2013 and 2018, \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">0.4 people per 100,000\u003c/a> died because of an abortion procedure. That’s compared to \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2020/maternal-mortality-rates-2020.htm\" target=\"_blank\" rel=\"noopener noreferrer\">18.2 Latinx people, 19.1 white people and 55.3 Black people per 100,000\u003c/a> who died while attempting to complete a pregnancy.\u003c/p>\n\u003cp>Death rates caused by illegal pre-Roe v. Wade abortion procedures are unclear. But in 2019, \u003ca href=\"https://www.washingtonpost.com/politics/2019/05/29/planned-parenthoods-false-stat-thousands-women-died-every-year-before-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Washington Post\u003c/em> fact-checkers reported that in the 1960s\u003c/a>, the annual number of women who died from an illegal abortion was officially under 300. The paper ultimately estimated that the actual number was realistically higher than 300 but lower than 1,000.\u003c/p>\n\u003ch2>Talk About It\u003c/h2>\n\u003cp>Openly talking about how abortion has affected your own life can help to de-stigmatize and humanize the issue for others. In 2017, a study showed that \u003ca href=\"https://www.guttmacher.org/news-release/2017/abortion-common-experience-us-women-despite-dramatic-declines-rates\" target=\"_blank\" rel=\"noopener noreferrer\">nearly one in four American women have an abortion by age 45\u003c/a>. If you are in a position to share your story, please consider doing so.\u003c/p>\n\u003cp>\u003ca href=\"https://www.advocatesforyouth.org/abortion-out-loud/abortion-out-loud-abortion-storytelling/\" target=\"_blank\" rel=\"noopener noreferrer\">Abortion Out Loud\u003c/a> has published 1,500 abortion stories and is always seeking more. \u003ca href=\"https://advocates.typeform.com/to/DgGgPF?typeform-source=www.advocatesforyouth.org\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your story here\u003c/a>. And Planned Parenthood’s “\u003ca href=\"https://www.plannedparenthood.org/about-us/newsroom/campaigns/abortion-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Our Abortions, Our Stories\u003c/a>” project is a powerful collection of quotes compiled with the belief that sharing accounts of abortion makes a difference in the lives of others. \u003ca href=\"https://www.weareplannedparenthood.org/onlineactions/WN3Ue7UcpUWFS4zAcjk3rg2?\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your experience here\u003c/a>.\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>Finally, if you’re feeling emotionally raw because of the news, talk to your friends, family and, if you have one, therapist. In the coming weeks, it’s important to find your network, seek out like-minded people to partner with, and get ready for the work ahead.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13912860/roe-v-wade-where-to-donate-abortion-reproductive-rights-supreme-court","authors":["11242"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_9324","arts_4459","arts_2733","arts_10342","arts_10278","arts_1962","arts_1756","arts_13671","arts_1674","arts_6470"],"featImg":"arts_13912872","label":"arts"},"arts_13910181":{"type":"posts","id":"arts_13910181","meta":{"index":"posts_1591205157","site":"arts","id":"13910181","score":null,"sort":[1646765612000]},"guestAuthors":[],"slug":"yuri-kochiyama-asian-and-black-solidarity","title":"Honoring Yuri Kochiyama's Legacy of Asian and Black Solidarity","publishDate":1646765612,"format":"standard","headTitle":"Honoring Yuri Kochiyama’s Legacy of Asian and Black Solidarity | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Yuri Kochiyama’s story is American history. Detained as a Japanese American and sent to a \u003ca href=\"#concentrationcamp\">concentration camp\u003c/a> during World War II, she would emerge as a well-recognized freedom fighter and community organizer whose work spanned the latter half of the 20th century and continued into the 21st.\u003c/p>\n\u003cp>She fought against Islamophobia after 9/11, denounced nuclear war after World War II and kneeled beside her friend, Malcolm X, just after he was assassinated.\u003c/p>\n\u003cp>Now, nearly a decade after Kochiyama’s passing, activists are honoring her legacy by building solidarity among oppressed people of color around the world. Activists like her granddaughter, Akemi Kochiyama.\u003c/p>\n\u003cp>On Tuesday, March 8, International Women’s Day, Akemi will lead a discussion with Frances Perez-Rodriguez, Shaun Lin, Lehna Huie, and Julien Terrell—a collective of intersectional activists, artists and organizers.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Yuri-Malcolm Mural\" src=\"https://player.vimeo.com/video/188653096?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The virtual event, \u003ca href=\"https://sff.zoom.us/webinar/register/WN_QQpqx_feRmGZgFIxZ1BBqQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Remembering Yuri Kochiyama’s Legacy: Her life as a political and feminist activist and champion for racial solidarity\u003c/em>\u003c/a>, will be a recorded roundtable conversation posted to \u003ca href=\"https://www.hellaheartoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Heart Oakland Giving Circle’s\u003c/a> Facebook page. Co-presented by Hella Heart Oakland, \u003ca href=\"https://womensfoundca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Women’s Foundation of California\u003c/a>, and \u003ca href=\"https://new-breath.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Breath Foundation\u003c/a>; the conversation will be moderated by \u003ca href=\"https://www.blackwomenradicals.com/about#:~:text=Jaimee%20A.,and%20in%20the%20African%20Diaspora.\" target=\"_blank\" rel=\"noopener noreferrer\">Jaimee Swift\u003c/a> of Black Women Radicals.\u003c/p>\n\u003cdiv>\n\u003cp>Over the phone, Akemi tells me that the central focus of the discussion is the young organizers and activists “who are all way to too young to have met Yuri.” But, she says, “These are people in their late 20s and early 30s, who learned through their organizing, and came to understand [Yuri’s] work.”\u003c/p>\n\u003cp>The event is the first of three virtual discussions (other discussion dates TBD) that the crew plans to hold with Hella Heart Oakland, leading up to the launch of the Yuri Kochiyama website and solidarity fund, which aims to support grassroots activists, educators and organizers. The launch is scheduled for May 19, the 101st anniversary of Kochiyama’s birth.\u003c/p>\n\u003cp>A Japanese American woman who was born and raised in the Southern California neighborhood of San Pedro, Kochiyama and her family were sent to \u003ca href=\"https://blogs.brown.edu/ethn-1890v-s01-fall-2016/historical-figures-and-organizations/yuri-kochiyama/\" target=\"_blank\" rel=\"noopener noreferrer\">a concentration camp in Jerome, Arkansas\u003c/a> after the United States implemented Executive Order 9066 during World War II.\u003c/p>\n\u003cp>Yuri, birth name Mary Yuriko Nakahara, married Bill Kochiyama, a veteran who served as a part of the all-Japanese American 442nd Regimental Combat Team. The duo relocated to Harlem, where Yuri became politically active in the 1960s. Through her political activism and community organizing, she met El-Hajj Malik El-Shabazz, widely known as Malcolm X.\u003c/p>\n\u003cp>The two were contemporaries in the struggle for civil rights and international solidarity among people of color around the world. Yuri became a member of Malcolm X’s Pan-African collective, the Organization for Afro-American Unity.\u003c/p>\n\u003cfigure id=\"attachment_13910191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_4802-800x795.jpg\" alt=\"An image of Yuri Kochiyama taken from the cover of her autobiography, Passing It On: A Memoir.\" width=\"800\" height=\"795\" class=\"size-medium wp-image-13910191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image of Yuri Kochiyama taken from the cover of her autobiography, ‘Passing It On: A Memoir.’ \u003ccite>(Via UCLA Asian American Studies Center Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born on the same day four years apart, their friendship was immortalized in photographic form when Kochiyama was \u003ca href=\"https://gordonbelray.com/malcolmx/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">shown cradling Malcolm X’s head\u003c/a> in the Audubon Ballroom in Manhattan on Feb. 21, 1965, moments after \u003ca href=\"https://www.youtube.com/watch?v=lDEChQiuLBQ\" rel=\"noopener noreferrer\" target=\"_blank\">the great orator and leader was assassinated\u003c/a>.\u003c/p>\n\u003cp>Often associated with this incident, Kochiyama did so much more.\u003c/p>\n\u003cp>She fought for nuclear disarmament by \u003ca href=\"https://allthingsnuclear.org/gkulacki/hiroshima-and-harlem/\" target=\"_blank\" rel=\"noopener noreferrer\">working with hibakusha\u003c/a>—people who survived the 1945 nuclear bombings of Hiroshima and Nagasaki. In 1977 she stood alongside members of the Young Lords as they\u003ca href=\"https://www.nps.gov/people/yuri-kochiyama.htm\" target=\"_blank\" rel=\"noopener noreferrer\"> took over the Statue of Liberty\u003c/a> to draw attention to the struggle for Puerto Rican independence.\u003c/p>\n\u003cp>Kochiyama was a vocal advocate for the passing of the \u003ca style=\"color: #41a62a\" href=\"https://densho.org/righting-a-wrong/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Civil Liberties Act of 1988\u003c/a>, after which Congress granted $20,000 and a formal apology to each survivor of the U.S. government’s Japanese internment. In 2005, she was one of \u003ca href=\"https://www.1000peacewomen.org/en/who-we-are/history-30.html#:~:text=A%20thousand%20women%20were%20collectively,not%20awarded%20the%20prestigious%20prize.\" target=\"_blank\" rel=\"noopener noreferrer\">1,000 women around the globe\u003c/a> nominated for a Nobel Peace Prize for their activism.\u003c/p>\n\u003cp>Kochiyama spent her later years living in the Bay Area. After she passed away in June 2014, a special acknowledgement from the \u003ca href=\"https://obamawhitehouse.archives.gov/blog/2014/06/06/honoring-legacy-yuri-kochiyama\" target=\"_blank\" rel=\"noopener noreferrer\">White House\u003c/a> quoted Yuri Kochiyama’s 2002 speech from the steps of San Francisco’s Federal Building: “An injury or injustice to one is an injury and injustice to all.”\u003c/p>\n\u003cp>This legacy has poured into her granddaughter, Akemi Kochiyama.\u003c/p>\n\u003cp>Akemi is an educator and organizer, and in 2017, along with a handful of artists, she created\u003cem>\u003ca href=\"https://neighbors.columbia.edu/news/mural-celebrating-history-west-harlem-community\" target=\"_blank\" rel=\"noopener noreferrer\"> From Harlem With Love: A Mural for Yuri and Malcolm\u003c/a>\u003c/em>. She says the duo’s work toward solidarity across Asian and African American communities is as meaningful today as it was 60 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13910189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-800x235.png\" alt=\"A mural dedicated to Yuri Kochiyama and Malcolm X in Harlem.\" width=\"800\" height=\"235\" class=\"size-medium wp-image-13910189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-800x235.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-1020x299.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-768x225.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-1536x451.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-2048x601.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-1920x563.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural dedicated to Yuri Kochiyama and Malcolm X in Harlem. \u003ccite>(via Akemi Kochiyama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the mural in Harlem went up, participants in the project started doing speaking engagements. They held seven public workshops over a three year period: in Yuri’s former home of the Manhattanville Public Housing Projects, at the Brooklyn Museum, and at a “Know Your Rights” workshop with Colin Kaepernick at the Audubon Ballroom—now called the\u003ca href=\"https://theshabazzcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Malcolm X and Dr. Betty Shabazz Memorial and Cultural Center\u003c/a>. \u003c/p>\n\u003cp>Akemi says the goal of this Tuesday’s conversation is for people to realize “how much we have in common, and how much more powerful we are in fighting for justice if we’re on the same side of this.”\u003c/p>\n\u003cp>The history is so important, Akemi emphasizes, and there’s a reason that the stories of people of color working together to resist oppression and imperialism are not widely taught. “This has gone on a long time,” says Akemi. “And it’s important, particularly in this moment, to understand that this history exists.”\u003c/p>\n\u003cp>Akemi’s belief—that solidarity amongst oppressed people is an empowering step toward liberation—echoes the words of her grandmother, who urged people to “\u003ca href=\"https://www.npr.org/2021/03/29/982274384/our-own-people\" target=\"_blank\" rel=\"noopener noreferrer\">build bridges, not walls.\u003c/a>”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>Remembering Yuri Kochiyama’s Legacy: Her life as a political and feminist activist and champion for racial solidarity starts at 4pm on March 4, 2022. \u003ca href=\"https://sff.zoom.us/webinar/register/WN_QQpqx_feRmGZgFIxZ1BBqQ\" target=\"_blank\" rel=\"noopener noreferrer\">Registration information and further details here. \u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca id=\"concentrationcamp\">\u003c/a>\u003cstrong>Editor’s note\u003c/strong>: KQED is using the term “concentration camp” to describe the facilities in which Japanese American and Japanese people were imprisoned by the United States during World War II. The term “internment” most appropriately applies to the detention of foreign nationals during wartime — but during World War II, 70,000 U.S. citizens were incarcerated in camps. The phrase “internment camp,” in this context, is a euphemism and therefore misleading. “Concentration camp” is most associated with the facilities where millions of Jewish (and non-Jewish) people were forcibly relocated and massacred by the Nazis during the Holocaust. It is also appropriate for the experience of Japanese and Japanese American people in the U.S. during World War II, as the definition of “concentration camp” is “a place where large numbers of people, especially political prisoners or members of persecuted minorities, are deliberately imprisoned in a relatively small area with inadequate facilities, sometimes to provide forced labor or to await mass execution.”\u003c/em>\u003c/p>\n\u003c/div>\n","blocks":[],"excerpt":"The late Japanese American civil rights icon continues to inspire activists to build collective power.","status":"publish","parent":0,"modified":1705007119,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1206},"headData":{"title":"Honoring Yuri Kochiyama's Legacy of Asian and Black Solidarity | KQED","description":"The late Japanese American civil rights icon continues to inspire activists to build collective power.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"Discussing ways to fight oppression across ethnicities and identities.","excludeFromSiteSearch":"Include","path":"/arts/13910181/yuri-kochiyama-asian-and-black-solidarity","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yuri Kochiyama’s story is American history. Detained as a Japanese American and sent to a \u003ca href=\"#concentrationcamp\">concentration camp\u003c/a> during World War II, she would emerge as a well-recognized freedom fighter and community organizer whose work spanned the latter half of the 20th century and continued into the 21st.\u003c/p>\n\u003cp>She fought against Islamophobia after 9/11, denounced nuclear war after World War II and kneeled beside her friend, Malcolm X, just after he was assassinated.\u003c/p>\n\u003cp>Now, nearly a decade after Kochiyama’s passing, activists are honoring her legacy by building solidarity among oppressed people of color around the world. Activists like her granddaughter, Akemi Kochiyama.\u003c/p>\n\u003cp>On Tuesday, March 8, International Women’s Day, Akemi will lead a discussion with Frances Perez-Rodriguez, Shaun Lin, Lehna Huie, and Julien Terrell—a collective of intersectional activists, artists and organizers.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Yuri-Malcolm Mural\" src=\"https://player.vimeo.com/video/188653096?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\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":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The virtual event, \u003ca href=\"https://sff.zoom.us/webinar/register/WN_QQpqx_feRmGZgFIxZ1BBqQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Remembering Yuri Kochiyama’s Legacy: Her life as a political and feminist activist and champion for racial solidarity\u003c/em>\u003c/a>, will be a recorded roundtable conversation posted to \u003ca href=\"https://www.hellaheartoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Heart Oakland Giving Circle’s\u003c/a> Facebook page. Co-presented by Hella Heart Oakland, \u003ca href=\"https://womensfoundca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Women’s Foundation of California\u003c/a>, and \u003ca href=\"https://new-breath.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Breath Foundation\u003c/a>; the conversation will be moderated by \u003ca href=\"https://www.blackwomenradicals.com/about#:~:text=Jaimee%20A.,and%20in%20the%20African%20Diaspora.\" target=\"_blank\" rel=\"noopener noreferrer\">Jaimee Swift\u003c/a> of Black Women Radicals.\u003c/p>\n\u003cdiv>\n\u003cp>Over the phone, Akemi tells me that the central focus of the discussion is the young organizers and activists “who are all way to too young to have met Yuri.” But, she says, “These are people in their late 20s and early 30s, who learned through their organizing, and came to understand [Yuri’s] work.”\u003c/p>\n\u003cp>The event is the first of three virtual discussions (other discussion dates TBD) that the crew plans to hold with Hella Heart Oakland, leading up to the launch of the Yuri Kochiyama website and solidarity fund, which aims to support grassroots activists, educators and organizers. The launch is scheduled for May 19, the 101st anniversary of Kochiyama’s birth.\u003c/p>\n\u003cp>A Japanese American woman who was born and raised in the Southern California neighborhood of San Pedro, Kochiyama and her family were sent to \u003ca href=\"https://blogs.brown.edu/ethn-1890v-s01-fall-2016/historical-figures-and-organizations/yuri-kochiyama/\" target=\"_blank\" rel=\"noopener noreferrer\">a concentration camp in Jerome, Arkansas\u003c/a> after the United States implemented Executive Order 9066 during World War II.\u003c/p>\n\u003cp>Yuri, birth name Mary Yuriko Nakahara, married Bill Kochiyama, a veteran who served as a part of the all-Japanese American 442nd Regimental Combat Team. The duo relocated to Harlem, where Yuri became politically active in the 1960s. Through her political activism and community organizing, she met El-Hajj Malik El-Shabazz, widely known as Malcolm X.\u003c/p>\n\u003cp>The two were contemporaries in the struggle for civil rights and international solidarity among people of color around the world. Yuri became a member of Malcolm X’s Pan-African collective, the Organization for Afro-American Unity.\u003c/p>\n\u003cfigure id=\"attachment_13910191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_4802-800x795.jpg\" alt=\"An image of Yuri Kochiyama taken from the cover of her autobiography, Passing It On: A Memoir.\" width=\"800\" height=\"795\" class=\"size-medium wp-image-13910191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_4802.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image of Yuri Kochiyama taken from the cover of her autobiography, ‘Passing It On: A Memoir.’ \u003ccite>(Via UCLA Asian American Studies Center Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born on the same day four years apart, their friendship was immortalized in photographic form when Kochiyama was \u003ca href=\"https://gordonbelray.com/malcolmx/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">shown cradling Malcolm X’s head\u003c/a> in the Audubon Ballroom in Manhattan on Feb. 21, 1965, moments after \u003ca href=\"https://www.youtube.com/watch?v=lDEChQiuLBQ\" rel=\"noopener noreferrer\" target=\"_blank\">the great orator and leader was assassinated\u003c/a>.\u003c/p>\n\u003cp>Often associated with this incident, Kochiyama did so much more.\u003c/p>\n\u003cp>She fought for nuclear disarmament by \u003ca href=\"https://allthingsnuclear.org/gkulacki/hiroshima-and-harlem/\" target=\"_blank\" rel=\"noopener noreferrer\">working with hibakusha\u003c/a>—people who survived the 1945 nuclear bombings of Hiroshima and Nagasaki. In 1977 she stood alongside members of the Young Lords as they\u003ca href=\"https://www.nps.gov/people/yuri-kochiyama.htm\" target=\"_blank\" rel=\"noopener noreferrer\"> took over the Statue of Liberty\u003c/a> to draw attention to the struggle for Puerto Rican independence.\u003c/p>\n\u003cp>Kochiyama was a vocal advocate for the passing of the \u003ca style=\"color: #41a62a\" href=\"https://densho.org/righting-a-wrong/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Civil Liberties Act of 1988\u003c/a>, after which Congress granted $20,000 and a formal apology to each survivor of the U.S. government’s Japanese internment. In 2005, she was one of \u003ca href=\"https://www.1000peacewomen.org/en/who-we-are/history-30.html#:~:text=A%20thousand%20women%20were%20collectively,not%20awarded%20the%20prestigious%20prize.\" target=\"_blank\" rel=\"noopener noreferrer\">1,000 women around the globe\u003c/a> nominated for a Nobel Peace Prize for their activism.\u003c/p>\n\u003cp>Kochiyama spent her later years living in the Bay Area. After she passed away in June 2014, a special acknowledgement from the \u003ca href=\"https://obamawhitehouse.archives.gov/blog/2014/06/06/honoring-legacy-yuri-kochiyama\" target=\"_blank\" rel=\"noopener noreferrer\">White House\u003c/a> quoted Yuri Kochiyama’s 2002 speech from the steps of San Francisco’s Federal Building: “An injury or injustice to one is an injury and injustice to all.”\u003c/p>\n\u003cp>This legacy has poured into her granddaughter, Akemi Kochiyama.\u003c/p>\n\u003cp>Akemi is an educator and organizer, and in 2017, along with a handful of artists, she created\u003cem>\u003ca href=\"https://neighbors.columbia.edu/news/mural-celebrating-history-west-harlem-community\" target=\"_blank\" rel=\"noopener noreferrer\"> From Harlem With Love: A Mural for Yuri and Malcolm\u003c/a>\u003c/em>. She says the duo’s work toward solidarity across Asian and African American communities is as meaningful today as it was 60 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13910189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-800x235.png\" alt=\"A mural dedicated to Yuri Kochiyama and Malcolm X in Harlem.\" width=\"800\" height=\"235\" class=\"size-medium wp-image-13910189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-800x235.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-1020x299.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-768x225.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-1536x451.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-2048x601.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-07-at-8.11.17-AM-1920x563.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural dedicated to Yuri Kochiyama and Malcolm X in Harlem. \u003ccite>(via Akemi Kochiyama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the mural in Harlem went up, participants in the project started doing speaking engagements. They held seven public workshops over a three year period: in Yuri’s former home of the Manhattanville Public Housing Projects, at the Brooklyn Museum, and at a “Know Your Rights” workshop with Colin Kaepernick at the Audubon Ballroom—now called the\u003ca href=\"https://theshabazzcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Malcolm X and Dr. Betty Shabazz Memorial and Cultural Center\u003c/a>. \u003c/p>\n\u003cp>Akemi says the goal of this Tuesday’s conversation is for people to realize “how much we have in common, and how much more powerful we are in fighting for justice if we’re on the same side of this.”\u003c/p>\n\u003cp>The history is so important, Akemi emphasizes, and there’s a reason that the stories of people of color working together to resist oppression and imperialism are not widely taught. “This has gone on a long time,” says Akemi. “And it’s important, particularly in this moment, to understand that this history exists.”\u003c/p>\n\u003cp>Akemi’s belief—that solidarity amongst oppressed people is an empowering step toward liberation—echoes the words of her grandmother, who urged people to “\u003ca href=\"https://www.npr.org/2021/03/29/982274384/our-own-people\" target=\"_blank\" rel=\"noopener noreferrer\">build bridges, not walls.\u003c/a>”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>Remembering Yuri Kochiyama’s Legacy: Her life as a political and feminist activist and champion for racial solidarity starts at 4pm on March 4, 2022. \u003ca href=\"https://sff.zoom.us/webinar/register/WN_QQpqx_feRmGZgFIxZ1BBqQ\" target=\"_blank\" rel=\"noopener noreferrer\">Registration information and further details here. \u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca id=\"concentrationcamp\">\u003c/a>\u003cstrong>Editor’s note\u003c/strong>: KQED is using the term “concentration camp” to describe the facilities in which Japanese American and Japanese people were imprisoned by the United States during World War II. The term “internment” most appropriately applies to the detention of foreign nationals during wartime — but during World War II, 70,000 U.S. citizens were incarcerated in camps. The phrase “internment camp,” in this context, is a euphemism and therefore misleading. “Concentration camp” is most associated with the facilities where millions of Jewish (and non-Jewish) people were forcibly relocated and massacred by the Nazis during the Holocaust. It is also appropriate for the experience of Japanese and Japanese American people in the U.S. during World War II, as the definition of “concentration camp” is “a place where large numbers of people, especially political prisoners or members of persecuted minorities, are deliberately imprisoned in a relatively small area with inadequate facilities, sometimes to provide forced labor or to await mass execution.”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910181/yuri-kochiyama-asian-and-black-solidarity","authors":["11491"],"categories":["arts_1"],"tags":["arts_2733","arts_10278","arts_2640","arts_4922","arts_585"],"featImg":"arts_13910190","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","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. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2019/07/commonwealthclub.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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