An MLK Weekend Concert Uplifts Stevie Wonder’s Civil Rights Legacy
On ‘Reclaim MLK’s Radical Legacy Weekend,’ the Anti Police-Terror Project Opens New HQ
A Musical Tribute to Martin Luther King Jr.
Moms 4 Housing and MLK's Case for Running 'Red Lights'
Community Service on Martin Luther King, Jr. Day in East Oakland
The Power Of Martin Luther King Jr.'s Anger
Civil Rights Song "We Shall Overcome" Part of Public Domain
'Tell 'Em About the Dream': Kronos Quartet Explores Moment MLK Went Off-Script
Journey into 1963 with Comic Artist Diego Gómez
Sponsored
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For Wonder, one of those causes was the fight for racial justice and the creation of Martin Luther King Jr. Day.\u003c/p>\n\u003cp>After a bill to create a federal holiday in honor of the civil rights leader failed in the House of Representatives in 1979, the King Foundation launched a campaign and recruited celebrities to energize the public. Wonder, by then a superstar with a dozen Grammys, was outspoken about racial equality in and outside of his music, and naturally lent his voice to the fight.\u003c/p>\n\u003cp>1980 saw the arrival of Wonder’s chart-topping album \u003ca href=\"https://www.kcrw.com/culture/shows/lost-notes/stevie-wonder-biography-history-comeback-1980\">\u003ci>Hotter Than July\u003c/i>\u003c/a>, whose inner record sleeve featured a portrait of MLK along with photos of white police officers facing off against peaceful, Black protestors. He dedicated one of the album’s singles, “Happy Birthday” — now a staple at celebrations where Black folks are present — to King. \u003ca href=\"https://web.archive.org/web/20110629021941/http://www.thenation.com/article/working-class-hero?page=full\">Wonder’s hit supercharged the campaign\u003c/a>, whose petition garnered six million signatures, and Martin Luther King Jr. Day finally became a national holiday in 1983. [aside label='More Arts Coverage' postid='arts_13940075,arts_13940030,arts_13939974']\u003c/p>\n\u003cp>On Jan. 13, during Martin Luther King Jr. Day weekend, a concert \u003ca href=\"https://www.livingjazz.org/\">produced by Living Jazz\u003c/a> at Oakland’s historic Paramount Theatre will honor the ways King’s and Wonder’s legacies have intertwined. Led by music director \u003ca href=\"https://www.kqed.org/arts/13926968/kev-choice-the-healing-album-pre-release-party-new-parish\">Kev Choice\u003c/a>, an MC and classical pianist, \u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-featuring-the-music-of-stevie-wonder\">In the Name of Love: Featuring the Music of Stevie Wonder\u003c/a> brings together an eclectic group of musicians, including jazz bassist \u003ca href=\"https://www.kqed.org/arts/13852456/rightnowish-bassist-aneesa-strings-love-for-music-started-in-oakland-schools\">Aneesa Strings\u003c/a>, genre-fusing multi-instrumentalist \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\">La Doña\u003c/a>, singers PHER, Nona Brown and Rhonda Benin, and Choice himself. Awesöme Orchestra Collective and the Howard Wiley Band will accompany these artists in reimagined versions of Wonder’s beloved hits and deep cuts.\u003c/p>\n\u003cp>Choice, an educator and community organizer, says he’s long looked to Wonder for inspiration when it comes to using his art for a bigger purpose. “He’s always had that message in his music and used his voice,” says Choice. “There’s numerous recordings of him at concerts. He’ll literally stop a show and just go off talking about the importance of the issues that he’s representing in his music — of love, of seeing humanity, of equality, of anti-war, of racial justice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saturday night’s audience at Paramount Theatre will hear new takes on Wonder classics, including “Pastime Paradise” and “Higher Ground,” interwoven with hip-hop, jazz and even reggaeton. Choice says he wants listeners to come away from the concert with two words: “Love and humanity.” Choice notes that this mantra is crucial as people fight for human rights in \u003ca href=\"https://www.kqed.org/arts/tag/gaza\">Gaza\u003c/a>, the Congo and Sudan.\u003c/p>\n\u003cp>“I want people to walk away thinking about, what would MLK be speaking up about? What would he be doing if he was alive today?” Choice says. “And hopefully just get some inspiration to continue that message.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>In the Name of Love: Featuring the Music of Stevie Wonder, co-presented by Living Jazz and SFJAZZ, takes place at Paramount Theatre in Oakland on Jan. 13. \u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-featuring-the-music-of-stevie-wonder\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Oakland musicians honor Stevie Wonder, whose ‘Happy Birthday’ helped make MLK Day a federal holiday. ","status":"publish","parent":0,"modified":1705015024,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":575},"headData":{"title":"An MLK Weekend Concert Uplifts Stevie Wonder’s Civil Rights Legacy | KQED","description":"Oakland musicians honor Stevie Wonder, whose ‘Happy Birthday’ helped make MLK Day a federal holiday. 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For Wonder, one of those causes was the fight for racial justice and the creation of Martin Luther King Jr. Day.\u003c/p>\n\u003cp>After a bill to create a federal holiday in honor of the civil rights leader failed in the House of Representatives in 1979, the King Foundation launched a campaign and recruited celebrities to energize the public. Wonder, by then a superstar with a dozen Grammys, was outspoken about racial equality in and outside of his music, and naturally lent his voice to the fight.\u003c/p>\n\u003cp>1980 saw the arrival of Wonder’s chart-topping album \u003ca href=\"https://www.kcrw.com/culture/shows/lost-notes/stevie-wonder-biography-history-comeback-1980\">\u003ci>Hotter Than July\u003c/i>\u003c/a>, whose inner record sleeve featured a portrait of MLK along with photos of white police officers facing off against peaceful, Black protestors. He dedicated one of the album’s singles, “Happy Birthday” — now a staple at celebrations where Black folks are present — to King. \u003ca href=\"https://web.archive.org/web/20110629021941/http://www.thenation.com/article/working-class-hero?page=full\">Wonder’s hit supercharged the campaign\u003c/a>, whose petition garnered six million signatures, and Martin Luther King Jr. Day finally became a national holiday in 1983. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Arts Coverage ","postid":"arts_13940075,arts_13940030,arts_13939974"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Jan. 13, during Martin Luther King Jr. Day weekend, a concert \u003ca href=\"https://www.livingjazz.org/\">produced by Living Jazz\u003c/a> at Oakland’s historic Paramount Theatre will honor the ways King’s and Wonder’s legacies have intertwined. Led by music director \u003ca href=\"https://www.kqed.org/arts/13926968/kev-choice-the-healing-album-pre-release-party-new-parish\">Kev Choice\u003c/a>, an MC and classical pianist, \u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-featuring-the-music-of-stevie-wonder\">In the Name of Love: Featuring the Music of Stevie Wonder\u003c/a> brings together an eclectic group of musicians, including jazz bassist \u003ca href=\"https://www.kqed.org/arts/13852456/rightnowish-bassist-aneesa-strings-love-for-music-started-in-oakland-schools\">Aneesa Strings\u003c/a>, genre-fusing multi-instrumentalist \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\">La Doña\u003c/a>, singers PHER, Nona Brown and Rhonda Benin, and Choice himself. Awesöme Orchestra Collective and the Howard Wiley Band will accompany these artists in reimagined versions of Wonder’s beloved hits and deep cuts.\u003c/p>\n\u003cp>Choice, an educator and community organizer, says he’s long looked to Wonder for inspiration when it comes to using his art for a bigger purpose. “He’s always had that message in his music and used his voice,” says Choice. “There’s numerous recordings of him at concerts. He’ll literally stop a show and just go off talking about the importance of the issues that he’s representing in his music — of love, of seeing humanity, of equality, of anti-war, of racial justice.”\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>Saturday night’s audience at Paramount Theatre will hear new takes on Wonder classics, including “Pastime Paradise” and “Higher Ground,” interwoven with hip-hop, jazz and even reggaeton. Choice says he wants listeners to come away from the concert with two words: “Love and humanity.” Choice notes that this mantra is crucial as people fight for human rights in \u003ca href=\"https://www.kqed.org/arts/tag/gaza\">Gaza\u003c/a>, the Congo and Sudan.\u003c/p>\n\u003cp>“I want people to walk away thinking about, what would MLK be speaking up about? What would he be doing if he was alive today?” Choice says. “And hopefully just get some inspiration to continue that message.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>In the Name of Love: Featuring the Music of Stevie Wonder, co-presented by Living Jazz and SFJAZZ, takes place at Paramount Theatre in Oakland on Jan. 13. \u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-featuring-the-music-of-stevie-wonder\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940150/name-of-love-stevie-wonder-paramount-theatre-kev-choice-oakland","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_2123","arts_585"],"featImg":"arts_13940152","label":"arts_140"},"arts_13923705":{"type":"posts","id":"arts_13923705","meta":{"index":"posts_1591205157","site":"arts","id":"13923705","score":null,"sort":[1673642856000]},"guestAuthors":[],"slug":"anti-police-terror-project-reclaim-mlk-peoples-house-oakland","title":"On ‘Reclaim MLK’s Radical Legacy Weekend,’ the Anti Police-Terror Project Opens New HQ","publishDate":1673642856,"format":"standard","headTitle":"On ‘Reclaim MLK’s Radical Legacy Weekend,’ the Anti Police-Terror Project Opens New HQ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For the Oakland activist organization \u003ca href=\"https://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti Police-Terror Project\u003c/a> (APTP), Martin Luther King Jr. Day is a time to remember the revolutionary impact of Dr. King — whose \u003ca href=\"https://medium.com/firstpres/the-radical-legacy-of-dr-king-in-his-own-words-918c14a3467f\" target=\"_blank\" rel=\"noopener noreferrer\">anti-capitalist, anti-imperialist teachings are often overlooked\u003c/a> in favor of a whitewashed history that validates the status quo.\u003c/p>\n\u003cp>Since 2015, APTP has led an annual march and car caravan during what they call \u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2023/#anchor\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaim MLK’s Radical Legacy Weekend\u003c/a>. What makes this year’s events special is the unveiling of APTP’s new West Oakland headquarters, The People’s House (893 Willow St., Oakland), which will host a slate of cultural events, teach-ins, healing circles and more to promote racial justice, mutual aid and solidarity. [aside postid='arts_13918908']\u003c/p>\n\u003cp>Reclaim MLK’s Radical Legacy Weekend kicks off on Friday, Jan. 13, with a virtual webinar on the Black Panthers’ survival programs — a major source of inspiration for APTP, which runs the initiative \u003ca href=\"https://www.antipoliceterrorproject.org/mental-health-first\" target=\"_blank\" rel=\"noopener noreferrer\">Mental Health First\u003c/a>. An alternative to law enforcement, Mental Health First makes trained volunteers available to respond to crises in Oakland and Sacramento. The People’s House is now the headquarters for Mental Health First, First Responders Committee and the \u003ca href=\"https://justiceteams.org/california-healers-network\" target=\"_blank\" rel=\"noopener noreferrer\">California Healers Network\u003c/a>, and will house a holistic care clinic to offer mental health, substance abuse and intimate partner violence interventions without involving police.\u003c/p>\n\u003cp>Programming continues throughout the weekend with nightly virtual screenings of films such as \u003ci>Judas and the Black Messiah\u003c/i> and the documentary \u003ci>Copwatch\u003c/i>. And on Saturday, Jan. 14, The People’s House will be open 11 a.m. – 3 p.m. for a grand opening block party that includes music, giveaways and speakers such as APTP executive director Cat Brooks, \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\" target=\"_blank\" rel=\"noopener noreferrer\">Communities United for Restorative Justice co-founder George Galvis\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Poet Laureate Ayodele Nzinga\u003c/a> and Oakland City Councilmember Carroll Fife.\u003c/p>\n\u003cp>“For decades Oakland has been at the vanguard in the fight for Black liberation,” Brooks said in a statement to KQED. “It’s time we reclaim that distinction. That’s why APTP is opening The People’s House in the birthplace of the Black Panther Party for Self Defense. It’s on their shoulders we stand, and through studying their service to the people, we draw our inspiration for our 21st Century Survival Programs like Mental Health First. We take care of us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The weekend culminates on Martin Luther King Jr. Day (Monday, Jan. 16) with the annual march and car caravan. A full schedule of programming can be found on \u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2023/#anchor\" target=\"_blank\" rel=\"noopener noreferrer\">APTP’s website\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"The People's House, which opens with a block party, will house an abolitionist holistic care clinic.","status":"publish","parent":0,"modified":1705005973,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":429},"headData":{"title":"On ‘Reclaim MLK’s Radical Legacy Weekend,’ the Anti Police-Terror Project Opens New HQ | KQED","description":"The People's House, which opens with a block party, will house an abolitionist holistic care clinic.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On ‘Reclaim MLK’s Radical Legacy Weekend,’ the Anti Police-Terror Project Opens New HQ","datePublished":"2023-01-13T20:47:36.000Z","dateModified":"2024-01-11T20:46:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13923705/anti-police-terror-project-reclaim-mlk-peoples-house-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the Oakland activist organization \u003ca href=\"https://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti Police-Terror Project\u003c/a> (APTP), Martin Luther King Jr. Day is a time to remember the revolutionary impact of Dr. King — whose \u003ca href=\"https://medium.com/firstpres/the-radical-legacy-of-dr-king-in-his-own-words-918c14a3467f\" target=\"_blank\" rel=\"noopener noreferrer\">anti-capitalist, anti-imperialist teachings are often overlooked\u003c/a> in favor of a whitewashed history that validates the status quo.\u003c/p>\n\u003cp>Since 2015, APTP has led an annual march and car caravan during what they call \u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2023/#anchor\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaim MLK’s Radical Legacy Weekend\u003c/a>. What makes this year’s events special is the unveiling of APTP’s new West Oakland headquarters, The People’s House (893 Willow St., Oakland), which will host a slate of cultural events, teach-ins, healing circles and more to promote racial justice, mutual aid and solidarity. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reclaim MLK’s Radical Legacy Weekend kicks off on Friday, Jan. 13, with a virtual webinar on the Black Panthers’ survival programs — a major source of inspiration for APTP, which runs the initiative \u003ca href=\"https://www.antipoliceterrorproject.org/mental-health-first\" target=\"_blank\" rel=\"noopener noreferrer\">Mental Health First\u003c/a>. An alternative to law enforcement, Mental Health First makes trained volunteers available to respond to crises in Oakland and Sacramento. The People’s House is now the headquarters for Mental Health First, First Responders Committee and the \u003ca href=\"https://justiceteams.org/california-healers-network\" target=\"_blank\" rel=\"noopener noreferrer\">California Healers Network\u003c/a>, and will house a holistic care clinic to offer mental health, substance abuse and intimate partner violence interventions without involving police.\u003c/p>\n\u003cp>Programming continues throughout the weekend with nightly virtual screenings of films such as \u003ci>Judas and the Black Messiah\u003c/i> and the documentary \u003ci>Copwatch\u003c/i>. And on Saturday, Jan. 14, The People’s House will be open 11 a.m. – 3 p.m. for a grand opening block party that includes music, giveaways and speakers such as APTP executive director Cat Brooks, \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\" target=\"_blank\" rel=\"noopener noreferrer\">Communities United for Restorative Justice co-founder George Galvis\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Poet Laureate Ayodele Nzinga\u003c/a> and Oakland City Councilmember Carroll Fife.\u003c/p>\n\u003cp>“For decades Oakland has been at the vanguard in the fight for Black liberation,” Brooks said in a statement to KQED. “It’s time we reclaim that distinction. That’s why APTP is opening The People’s House in the birthplace of the Black Panther Party for Self Defense. It’s on their shoulders we stand, and through studying their service to the people, we draw our inspiration for our 21st Century Survival Programs like Mental Health First. We take care of us.”\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>\n\u003cp>The weekend culminates on Martin Luther King Jr. Day (Monday, Jan. 16) with the annual march and car caravan. A full schedule of programming can be found on \u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2023/#anchor\" target=\"_blank\" rel=\"noopener noreferrer\">APTP’s website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923705/anti-police-terror-project-reclaim-mlk-peoples-house-oakland","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835"],"tags":["arts_5945","arts_2123","arts_4730","arts_585"],"featImg":"arts_13819437","label":"arts_140"},"arts_13891262":{"type":"posts","id":"arts_13891262","meta":{"index":"posts_1591205157","site":"arts","id":"13891262","score":null,"sort":[1610666020000]},"guestAuthors":[],"slug":"a-musical-tribute-to-martin-luther-king-jr","title":"A Musical Tribute to Martin Luther King Jr.","publishDate":1610666020,"format":"standard","headTitle":"A Musical Tribute to Martin Luther King Jr. | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.[aside postID='arts_13819256']\u003c/p>\n\u003cp>Just days after delivering remarks at a \u003ca href=\"https://lee.house.gov/news/press-releases/icymi-congresswoman-barbara-lee-delivers-remarks-in-congressional-black-caucus-hearing-on-white-supremacy-at-us-capitol-riots\">Congressional Black Caucus hearing on white supremacy\u003c/a> in light of the January 6 capitol riots, Congresswoman Barbara Lee will present the Oakland Citizen Humanitarian Award to Dr. Noha Aboelata, the founder and CEO of Roots Clinic, an East Oakland-based community health organization focused on ending health disparities. In the past year in particular, Roots’ work has been essential, with an expansion of services that includes free walk-up COVID testing in a neighborhood hit especially hard by the pandemic.\u003c/p>\n\u003cp>In the interest of accessibility, Living Jazz is offering “pay what you can” ticket prices, with all proceeds going to the \u003ca href=\"https://www.livingjazz.org/childrens-project\">Living Jazz Children’s Project\u003c/a>. The Living Jazz Children’s Project (LJCP) reaches 400 second- and third-graders from low-income public elementary schools each year, and has provided virtual classes during the COVID-19 pandemic to support students through the joy of music as they continue online learning. Launched in 2005, LJCP brings a full year of music and performance education to schools with little or no access to the arts, meeting a critical need in a district with pervasive issues of inequity.\u003c/p>\n\u003cp>\u003cem>“In the Name of Love” streams online on Sunday, Jan. 17, from 4pm-6pm. \u003ca href=\"https://www.livingjazz.org/mlktribute\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Bay Area artists Meklit, Kronos Quartet, the Dynamic Miss Faye Carol and more honor the civil rights icon.","status":"publish","parent":0,"modified":1705019645,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":361},"headData":{"title":"A Musical Tribute to Martin Luther King Jr. | KQED","description":"Bay Area artists Meklit, Kronos Quartet, the Dynamic Miss Faye Carol and more honor the civil rights icon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Musical Tribute to Martin Luther King Jr.","datePublished":"2021-01-14T23:13:40.000Z","dateModified":"2024-01-12T00:34:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13891262/a-musical-tribute-to-martin-luther-king-jr","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13819256","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just days after delivering remarks at a \u003ca href=\"https://lee.house.gov/news/press-releases/icymi-congresswoman-barbara-lee-delivers-remarks-in-congressional-black-caucus-hearing-on-white-supremacy-at-us-capitol-riots\">Congressional Black Caucus hearing on white supremacy\u003c/a> in light of the January 6 capitol riots, Congresswoman Barbara Lee will present the Oakland Citizen Humanitarian Award to Dr. Noha Aboelata, the founder and CEO of Roots Clinic, an East Oakland-based community health organization focused on ending health disparities. In the past year in particular, Roots’ work has been essential, with an expansion of services that includes free walk-up COVID testing in a neighborhood hit especially hard by the pandemic.\u003c/p>\n\u003cp>In the interest of accessibility, Living Jazz is offering “pay what you can” ticket prices, with all proceeds going to the \u003ca href=\"https://www.livingjazz.org/childrens-project\">Living Jazz Children’s Project\u003c/a>. The Living Jazz Children’s Project (LJCP) reaches 400 second- and third-graders from low-income public elementary schools each year, and has provided virtual classes during the COVID-19 pandemic to support students through the joy of music as they continue online learning. Launched in 2005, LJCP brings a full year of music and performance education to schools with little or no access to the arts, meeting a critical need in a district with pervasive issues of inequity.\u003c/p>\n\u003cp>\u003cem>“In the Name of Love” streams online on Sunday, Jan. 17, from 4pm-6pm. \u003ca href=\"https://www.livingjazz.org/mlktribute\">Tickets and details here\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891262/a-musical-tribute-to-martin-luther-king-jr","authors":["11734"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_69"],"tags":["arts_5016","arts_1420","arts_2244","arts_2123","arts_5826"],"featImg":"arts_13891263","label":"arts_140"},"arts_13873317":{"type":"posts","id":"arts_13873317","meta":{"index":"posts_1591205157","site":"arts","id":"13873317","score":null,"sort":[1579132456000]},"guestAuthors":[],"slug":"red-light","title":"Moms 4 Housing and MLK's Case for Running 'Red Lights'","publishDate":1579132456,"format":"standard","headTitle":"Moms 4 Housing and MLK’s Case for Running ‘Red Lights’ | KQED","labelTerm":{},"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\">R\u003c/span>ight before Dr. Martin Luther King, Jr. was assassinated in 1968, he worked for over a year on something called the Poor People’s Campaign. The plan, in short, was to organize economically disenfranchised folks of all races, from all across the nation, and have them set up camp on Washington DC’s National Mall. King’s hope was that the visible public encampment would show the need for “radical wealth redistribution,” since economic inequality in America was, and still is, a national emergency.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“There is nothing wrong with the traffic law which says you have to stop for the red light,” King said, during \u003ca href=\"https://www.youtube.com/watch?v=WWcD4xt7Mnk\" target=\"_blank\" rel=\"noopener noreferrer\">a radio broadcast\u003c/a> prior to the launch of the campaign. However, King added, “when a fire is raging, the fire truck goes right through that red light, and normal traffic had better get out of its way.” He explained that oppressive conditions had created “a fire raging now for the Negroes and the poor of this society,” and subsequently, the country would “need brigades of ambulance drivers that will ignore the red lights of the present system, until the emergency is solved.”\u003c/p>\n\u003cp>The current housing system in California, and especially the Bay Area, is a red light. Housing insecurity continues to spread like wildfire. It’s time to disregard the stop signs and send in all the fire trucks and ambulances we can muster.\u003c/p>\n\u003cfigure id=\"attachment_13873362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg\" alt=\"Resurrection City in 1968, on the National Mall in Washington D.C.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resurrection City in 1968, on the National Mall in Washington D.C. \u003ccite>(Henry Zbyszynski / CC 2.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we’ve seen in near-daily headlines, the alarms have been ringing for some time now. The sprawling tent cities alone are a wailing siren.\u003c/p>\n\u003cp>In Oakland, Mayor Libby Schaaf responded by housing people in Tuff Sheds, small buildings originally designed for storage and garden tools. In September of last year, President Trump threatened sanctions by the Environmental Protection Agency against San Francisco, saying, “They have to clean it up. We can’t have our cities going to hell.” A year earlier, a similar sentiment was shared by an official from the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a>, calling conditions in the Bay Area “cruel and inhuman.”\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.nytimes.com/interactive/2019/12/17/us/oakland-california-homeless-camp.html\">two New York Times\u003c/a> reporters compared and contrasted conditions in the Bay Area versus those of a slum in Central America. They found two advantages to living in a “shanty village” outside of Mexico City over being homeless on High Street in East Oakland: stability and running water.\u003c/p>\n\u003cp>As if those signs of distress aren’t loud enough, just last week Governor Gavin Newsom signed \u003ca href=\"https://www.gov.ca.gov/2020/01/08/governor-newsom-previews-1-billion-in-budget-proposal-to-jump-start-new-homeless-fund-and-provide-behavioral-health-services-signs-order-to-accelerate-state-action-to-fight-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">an executive order\u003c/a> that “requires state agencies to take urgent and immediate action” to find space on state property where shelters can be built; the deadline is Jan. 31, and the order is supported by over $1 billion in funding. According to Governor Newsom, “the State of California is treating (homelessness) as a real emergency—because it is one.”\u003c/p>\n\u003cfigure id=\"attachment_13873365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg\" alt=\"Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland, which they've occupied since November, despite an eviction order. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland. \u003ccite>(Kate Wolffe/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o on Nov. 18, when Dominique Walker, Sameerah Karim and the Moms 4 Housing collective \u003ca href=\"https://www.kqed.org/news/11793299/moms-4-housing-in-oakland-vow-to-fight-potential-eviction\" target=\"_blank\" rel=\"noopener noreferrer\">took up residency in a vacant two-story house\u003c/a> on the 2900 block of Magnolia Street in West Oakland, they constituted, in essence, an emergency response vehicle racing toward a burning fire.\u003c/p>\n\u003cp>Their assertion that “\u003ca href=\"https://www.kqed.org/news/11793704/west-oakland-housing-human-right-moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">housing is a human right\u003c/a>” was driven by morality, while their occupation of the house completely disregarded the red light of the legal housing system.\u003c/p>\n\u003cp>They stayed in the house for nearly two months before being legally evicted last week and \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">forcibly removed\u003c/a> this week. Although it appears they’ve lost the battle to live in the home that’s legally owned by Wedgewood, the country’s biggest “\u003ca href=\"https://www.huffpost.com/entry/a-working-class-family-co_b_9551862?guccounter=1\" target=\"_blank\" rel=\"noopener noreferrer\">fix and flip\u003c/a>” investment company, their action brought awareness to a major component of the housing emergency: the fact that it’s sometimes more profitable for property owners to keep a house empty than to rent it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As of last year, \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">there were 4,071 unhoused people in Oakland, and 4,366 vacant homes\u003c/a>.\u003c/p>\n\u003cp>Combine that with the fact that in 2019, the average rent for an apartment in Oakland rose to \u003ca href=\"https://www.rentcafe.com/average-rent-market-trends/us/ca/oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">$2,905\u003c/a>, a 7% increase from the previous year. Meanwhile, on Jan. 1, 2020, Oakland’s minimum wage rose only slightly, from $13.80 to $14.14.\u003c/p>\n\u003cp>Add on the context that Oakland’s homeless population rose \u003ca href=\"https://www.kqed.org/forum/2010101872510/oakland-homelessness-increases-47-in-two-years\" target=\"_blank\" rel=\"noopener noreferrer\">47%\u003c/a> between 2017 and 2019, just for flavor.\u003c/p>\n\u003cp>And then add the not-so-secret ingredient: the fact that \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70%\u003c/a> of the unhoused population in Oakland is African American, while the city’s total population is around 25% African American, and declining.\u003c/p>\n\u003cp>You see why there’s a big-ass emergency cake in the oven. But Oakland isn’t the only bakery that’s on fire.\u003c/p>\n\u003cp>In California as a whole, black folks account for only \u003ca href=\"https://calmatters.org/explainers/californias-homelessness-crisis-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5%\u003c/a> of the total population in this state, but roughly 30% of unhoused people. And nationally, African Americans account for only \u003ca href=\"https://endhomelessness.org/homelessness-in-america/what-causes-homelessness/inequality/\" target=\"_blank\" rel=\"noopener noreferrer\">13%\u003c/a> of the total population, but account for 40% of unhoused individuals in the United States.\u003c/p>\n\u003cp>I look at those numbers, and I think about the other stories I’ve read, like how the City of Detroit, America’s largest majority African American city, erroneously \u003ca href=\"https://www.revealnews.org/episodes/the-lost-homes-of-detroit/\" target=\"_blank\" rel=\"noopener noreferrer\">over-taxed its homeowners\u003c/a>. And the story of \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/09/this-land-was-our-land/594742/\">black farmers in the Mississippi delta\u003c/a> being duped out of the deeds to their land. How “\u003ca href=\"https://features.propublica.org/black-land-loss/heirs-property-rights-why-black-families-lose-land-south/\" target=\"_blank\" rel=\"noopener noreferrer\">heirs property\u003c/a>” clauses conned folks of color in the Carolinas. The history of redlining and the subprime mortgage crisis. And how last July, \u003ca href=\"https://www.curbed.com/2018/3/13/17101142/black-homeownership-fair-housing-act\">home ownership among African Americans\u003c/a> fell to roughly the same rate it was when President Johnson signed the Fair Housing Act, not long after MLK’s assassination.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WWcD4xt7Mnk\u003c/p>\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>r. King never got to see the Poor People’s Campaign come to fruition. But after his death, the action was carried out under the guidance of Southern Christian Leadership Conference’s new president, Ralph Abernathy. The first people to occupy the space known as Resurrection City were a caravan of women’s groups, \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/poor-peoples-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">led by Coretta Scott King\u003c/a>.\u003c/p>\n\u003cp>King \u003ca href=\"https://www.theatlantic.com/magazine/archive/2018/02/coretta-scott-king/552557/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> started her trek to the capital after rallying people while standing on the very balcony where her husband was assassinated, telling the crowd that she wanted an America “where not some but all of God’s children have food, where not some but all of God’s children have decent housing, where not some but all of God’s children have a guaranteed annual income in keeping with the principles of liberty and grace.”\u003c/p>\n\u003cp>That sure sounds like an obvious precursor to the moral argument presented by Moms 4 Housing.\u003c/p>\n\u003cp>In the 50-plus years since Martin Luther King, Jr. made his ambulance analogy, homelessness, inequality and class division have proven to be, as they say, \u003cem>as American as apple pie.\u003c/em> Or rather, as American as the electric stoplight, which was actually invented here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The words of Martin Luther King, Jr. echo across the Bay Area's housing crisis.","status":"publish","parent":0,"modified":1705021491,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1219},"headData":{"title":"Moms 4 Housing and MLK's Case for Running 'Red Lights' | KQED","description":"The words of Martin Luther King, Jr. echo across the Bay Area's housing crisis.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Moms 4 Housing and MLK's Case for Running 'Red Lights'","datePublished":"2020-01-15T23:54:16.000Z","dateModified":"2024-01-12T01:04:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13873317/red-light","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\">R\u003c/span>ight before Dr. Martin Luther King, Jr. was assassinated in 1968, he worked for over a year on something called the Poor People’s Campaign. The plan, in short, was to organize economically disenfranchised folks of all races, from all across the nation, and have them set up camp on Washington DC’s National Mall. King’s hope was that the visible public encampment would show the need for “radical wealth redistribution,” since economic inequality in America was, and still is, a national emergency.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“There is nothing wrong with the traffic law which says you have to stop for the red light,” King said, during \u003ca href=\"https://www.youtube.com/watch?v=WWcD4xt7Mnk\" target=\"_blank\" rel=\"noopener noreferrer\">a radio broadcast\u003c/a> prior to the launch of the campaign. However, King added, “when a fire is raging, the fire truck goes right through that red light, and normal traffic had better get out of its way.” He explained that oppressive conditions had created “a fire raging now for the Negroes and the poor of this society,” and subsequently, the country would “need brigades of ambulance drivers that will ignore the red lights of the present system, until the emergency is solved.”\u003c/p>\n\u003cp>The current housing system in California, and especially the Bay Area, is a red light. Housing insecurity continues to spread like wildfire. It’s time to disregard the stop signs and send in all the fire trucks and ambulances we can muster.\u003c/p>\n\u003cfigure id=\"attachment_13873362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg\" alt=\"Resurrection City in 1968, on the National Mall in Washington D.C.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Resurrection_City.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Resurrection City in 1968, on the National Mall in Washington D.C. \u003ccite>(Henry Zbyszynski / CC 2.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we’ve seen in near-daily headlines, the alarms have been ringing for some time now. The sprawling tent cities alone are a wailing siren.\u003c/p>\n\u003cp>In Oakland, Mayor Libby Schaaf responded by housing people in Tuff Sheds, small buildings originally designed for storage and garden tools. In September of last year, President Trump threatened sanctions by the Environmental Protection Agency against San Francisco, saying, “They have to clean it up. We can’t have our cities going to hell.” A year earlier, a similar sentiment was shared by an official from the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a>, calling conditions in the Bay Area “cruel and inhuman.”\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.nytimes.com/interactive/2019/12/17/us/oakland-california-homeless-camp.html\">two New York Times\u003c/a> reporters compared and contrasted conditions in the Bay Area versus those of a slum in Central America. They found two advantages to living in a “shanty village” outside of Mexico City over being homeless on High Street in East Oakland: stability and running water.\u003c/p>\n\u003cp>As if those signs of distress aren’t loud enough, just last week Governor Gavin Newsom signed \u003ca href=\"https://www.gov.ca.gov/2020/01/08/governor-newsom-previews-1-billion-in-budget-proposal-to-jump-start-new-homeless-fund-and-provide-behavioral-health-services-signs-order-to-accelerate-state-action-to-fight-homelessness/\" target=\"_blank\" rel=\"noopener noreferrer\">an executive order\u003c/a> that “requires state agencies to take urgent and immediate action” to find space on state property where shelters can be built; the deadline is Jan. 31, and the order is supported by over $1 billion in funding. According to Governor Newsom, “the State of California is treating (homelessness) as a real emergency—because it is one.”\u003c/p>\n\u003cfigure id=\"attachment_13873365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg\" alt=\"Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland, which they've occupied since November, despite an eviction order. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Moms4Housing.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Moms 4 Housing — Sharena Thomas, left, Carroll Fife, center, Dominique Walker, second from right, and Tolani KIng, right — outside a formerly vacant house on Magnolia Street in West Oakland. \u003ccite>(Kate Wolffe/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o on Nov. 18, when Dominique Walker, Sameerah Karim and the Moms 4 Housing collective \u003ca href=\"https://www.kqed.org/news/11793299/moms-4-housing-in-oakland-vow-to-fight-potential-eviction\" target=\"_blank\" rel=\"noopener noreferrer\">took up residency in a vacant two-story house\u003c/a> on the 2900 block of Magnolia Street in West Oakland, they constituted, in essence, an emergency response vehicle racing toward a burning fire.\u003c/p>\n\u003cp>Their assertion that “\u003ca href=\"https://www.kqed.org/news/11793704/west-oakland-housing-human-right-moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">housing is a human right\u003c/a>” was driven by morality, while their occupation of the house completely disregarded the red light of the legal housing system.\u003c/p>\n\u003cp>They stayed in the house for nearly two months before being legally evicted last week and \u003ca href=\"https://www.kqed.org/news/11795944/moms-4-housing-members-evicted-from-oakland-home-4-arrested\" target=\"_blank\" rel=\"noopener noreferrer\">forcibly removed\u003c/a> this week. Although it appears they’ve lost the battle to live in the home that’s legally owned by Wedgewood, the country’s biggest “\u003ca href=\"https://www.huffpost.com/entry/a-working-class-family-co_b_9551862?guccounter=1\" target=\"_blank\" rel=\"noopener noreferrer\">fix and flip\u003c/a>” investment company, their action brought awareness to a major component of the housing emergency: the fact that it’s sometimes more profitable for property owners to keep a house empty than to rent it.\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>As of last year, \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">there were 4,071 unhoused people in Oakland, and 4,366 vacant homes\u003c/a>.\u003c/p>\n\u003cp>Combine that with the fact that in 2019, the average rent for an apartment in Oakland rose to \u003ca href=\"https://www.rentcafe.com/average-rent-market-trends/us/ca/oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">$2,905\u003c/a>, a 7% increase from the previous year. Meanwhile, on Jan. 1, 2020, Oakland’s minimum wage rose only slightly, from $13.80 to $14.14.\u003c/p>\n\u003cp>Add on the context that Oakland’s homeless population rose \u003ca href=\"https://www.kqed.org/forum/2010101872510/oakland-homelessness-increases-47-in-two-years\" target=\"_blank\" rel=\"noopener noreferrer\">47%\u003c/a> between 2017 and 2019, just for flavor.\u003c/p>\n\u003cp>And then add the not-so-secret ingredient: the fact that \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70%\u003c/a> of the unhoused population in Oakland is African American, while the city’s total population is around 25% African American, and declining.\u003c/p>\n\u003cp>You see why there’s a big-ass emergency cake in the oven. But Oakland isn’t the only bakery that’s on fire.\u003c/p>\n\u003cp>In California as a whole, black folks account for only \u003ca href=\"https://calmatters.org/explainers/californias-homelessness-crisis-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5%\u003c/a> of the total population in this state, but roughly 30% of unhoused people. And nationally, African Americans account for only \u003ca href=\"https://endhomelessness.org/homelessness-in-america/what-causes-homelessness/inequality/\" target=\"_blank\" rel=\"noopener noreferrer\">13%\u003c/a> of the total population, but account for 40% of unhoused individuals in the United States.\u003c/p>\n\u003cp>I look at those numbers, and I think about the other stories I’ve read, like how the City of Detroit, America’s largest majority African American city, erroneously \u003ca href=\"https://www.revealnews.org/episodes/the-lost-homes-of-detroit/\" target=\"_blank\" rel=\"noopener noreferrer\">over-taxed its homeowners\u003c/a>. And the story of \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/09/this-land-was-our-land/594742/\">black farmers in the Mississippi delta\u003c/a> being duped out of the deeds to their land. How “\u003ca href=\"https://features.propublica.org/black-land-loss/heirs-property-rights-why-black-families-lose-land-south/\" target=\"_blank\" rel=\"noopener noreferrer\">heirs property\u003c/a>” clauses conned folks of color in the Carolinas. The history of redlining and the subprime mortgage crisis. And how last July, \u003ca href=\"https://www.curbed.com/2018/3/13/17101142/black-homeownership-fair-housing-act\">home ownership among African Americans\u003c/a> fell to roughly the same rate it was when President Johnson signed the Fair Housing Act, not long after MLK’s assassination.\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/WWcD4xt7Mnk'\n title='//www.youtube.com/embed/WWcD4xt7Mnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">D\u003c/span>r. King never got to see the Poor People’s Campaign come to fruition. But after his death, the action was carried out under the guidance of Southern Christian Leadership Conference’s new president, Ralph Abernathy. The first people to occupy the space known as Resurrection City were a caravan of women’s groups, \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/poor-peoples-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">led by Coretta Scott King\u003c/a>.\u003c/p>\n\u003cp>King \u003ca href=\"https://www.theatlantic.com/magazine/archive/2018/02/coretta-scott-king/552557/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> started her trek to the capital after rallying people while standing on the very balcony where her husband was assassinated, telling the crowd that she wanted an America “where not some but all of God’s children have food, where not some but all of God’s children have decent housing, where not some but all of God’s children have a guaranteed annual income in keeping with the principles of liberty and grace.”\u003c/p>\n\u003cp>That sure sounds like an obvious precursor to the moral argument presented by Moms 4 Housing.\u003c/p>\n\u003cp>In the 50-plus years since Martin Luther King, Jr. made his ambulance analogy, homelessness, inequality and class division have proven to be, as they say, \u003cem>as American as apple pie.\u003c/em> Or rather, as American as the electric stoplight, which was actually invented here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873317/red-light","authors":["11491"],"categories":["arts_2303","arts_835"],"tags":["arts_2767","arts_5209","arts_1355","arts_4544","arts_7321","arts_2123","arts_1143"],"featImg":"arts_13873364","label":"source_arts_13873317"},"arts_13873032":{"type":"posts","id":"arts_13873032","meta":{"index":"posts_1591205157","site":"arts","id":"13873032","score":null,"sort":[1579037990000]},"guestAuthors":[],"slug":"community-service-on-martin-luther-king-jr-day-in-east-oakland","title":"Community Service on Martin Luther King, Jr. Day in East Oakland","publishDate":1579037990,"format":"standard","headTitle":"Community Service on Martin Luther King, Jr. Day in East Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On Monday, Jan. 20, people across the nation will gather in celebration of the life and legacy of Dr. Martin Luther King, Jr. In East Oakland, the \u003ca href=\"http://www.highergroundndc.com/home/about_us\" target=\"_blank\" rel=\"noopener noreferrer\">Higher Ground Neighborhood Development Corp\u003c/a> is asking people to join in a day of service.\u003c/p>\n\u003cp>From 8am to 1pm, people are invited to 400 Capistrano Drive to assist in planting trees, picking up trash and helping with beautifying a senior living space in the neighborhood.\u003c/p>\n\u003cp>They’re expecting over 200 people, working in collaboration with a number of organizations, including Roots Health Clinic, Urban Relief and Planting Justice. A few schools are also involved, like Madison Park Academy and Brookfield Elementary; the City of Oakland is a partner as well.\u003c/p>\n\u003cfigure id=\"attachment_13873107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873107 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_3785-800x600.jpg\" alt=\"Khariyyah Shabazz(red sweatshirt) poses with employees, parents and students at the 2019 MLK Day of service. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khariyyah Shabazz (red sweatshirt) poses with employees, parents and students at the 2019 MLK Day of service. \u003ccite>(Khariyyah Shabazz-Wade )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the 11th year the youth-focused community-based organization has hosted a day of service—and it’s the fifth year that Khariyyah Shabazz has led this effort.\u003c/p>\n\u003cp>Shabazz says volunteers can expect to participate in mural painting, neighborhood beautification, and more. “There will be various organizations tabling, food trucks, a DJ, and community engagement,” says Shabazz. There’s also free shirts for people who register beforehand. \u003ca href=\"https://www.eventbrite.com/e/martin-luther-king-jr-day-of-service-tickets-76491294521\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A chance to honor the civil rights leader through community service.","status":"publish","parent":0,"modified":1705021502,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":216},"headData":{"title":"Community Service on Martin Luther King, Jr. Day in East Oakland | KQED","description":"A chance to honor the civil rights leader through community service.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Community Service on Martin Luther King, Jr. Day in East Oakland","datePublished":"2020-01-14T21:39:50.000Z","dateModified":"2024-01-12T01:05:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1579507200,"endTime":1579593600,"startTimeString":"Jan. 20","path":"/arts/13873032/community-service-on-martin-luther-king-jr-day-in-east-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, Jan. 20, people across the nation will gather in celebration of the life and legacy of Dr. Martin Luther King, Jr. In East Oakland, the \u003ca href=\"http://www.highergroundndc.com/home/about_us\" target=\"_blank\" rel=\"noopener noreferrer\">Higher Ground Neighborhood Development Corp\u003c/a> is asking people to join in a day of service.\u003c/p>\n\u003cp>From 8am to 1pm, people are invited to 400 Capistrano Drive to assist in planting trees, picking up trash and helping with beautifying a senior living space in the neighborhood.\u003c/p>\n\u003cp>They’re expecting over 200 people, working in collaboration with a number of organizations, including Roots Health Clinic, Urban Relief and Planting Justice. A few schools are also involved, like Madison Park Academy and Brookfield Elementary; the City of Oakland is a partner as well.\u003c/p>\n\u003cfigure id=\"attachment_13873107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873107 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_3785-800x600.jpg\" alt=\"Khariyyah Shabazz(red sweatshirt) poses with employees, parents and students at the 2019 MLK Day of service. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_3785-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khariyyah Shabazz (red sweatshirt) poses with employees, parents and students at the 2019 MLK Day of service. \u003ccite>(Khariyyah Shabazz-Wade )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the 11th year the youth-focused community-based organization has hosted a day of service—and it’s the fifth year that Khariyyah Shabazz has led this effort.\u003c/p>\n\u003cp>Shabazz says volunteers can expect to participate in mural painting, neighborhood beautification, and more. “There will be various organizations tabling, food trucks, a DJ, and community engagement,” says Shabazz. There’s also free shirts for people who register beforehand. \u003ca href=\"https://www.eventbrite.com/e/martin-luther-king-jr-day-of-service-tickets-76491294521\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873032/community-service-on-martin-luther-king-jr-day-in-east-oakland","authors":["11491"],"programs":["arts_140"],"categories":["arts_835"],"tags":["arts_5016","arts_2123"],"featImg":"arts_13873106","label":"arts_140"},"arts_13854299":{"type":"posts","id":"arts_13854299","meta":{"index":"posts_1591205157","site":"arts","id":"13854299","score":null,"sort":[1554405963000]},"guestAuthors":[],"slug":"the-power-of-martin-luther-king-jr-s-anger","title":"The Power Of Martin Luther King Jr.'s Anger","publishDate":1554405963,"format":"standard","headTitle":"The Power Of Martin Luther King Jr.’s Anger | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When Martin Luther King, Jr. was in high school, he won an oratorical contest sponsored by the Negro Elks. He and a beloved teacher were returning home in triumph, riding on a bus, when some white passengers got on. The white bus driver ordered King and his teacher to give up their seats, and cursed them. King wanted to stay seated, but his teacher urged him to obey the law. They had to stand in the aisle for the 90 miles back to Atlanta, Ga.\u003c/p>\n\u003cp>“That night will never leave my memory,” King \u003ca href=\"https://playboysfw.kinja.com/martin-luther-king-jr-a-candid-conversation-with-the-n-1502354861\">told\u003c/a> an interviewer, decades later. “It was the angriest I have ever been in my life.”\u003c/p>\n\u003cp>In February this year, \u003ca href=\"https://www.npr.org/series/688838187/the-other-side-of-anger\" target=\"_blank\" rel=\"noopener\">NPR explored the power of anger\u003c/a>. And King is an example of someone who showed a kind of genius for turning that emotion into positive action.\u003c/p>\n\u003cp>“My father was extremely angry from that incident. So much so that he expressed it later on by saying that he came very dangerously close, at that particular time, to hating all white people,” says Bernice King, who now runs \u003ca href=\"http://thekingcenter.org/\">The King Center\u003c/a> in Atlanta.\u003c/p>\n\u003cp>As he grew older, and went to college and theological school, Martin Luther King, Jr. realized that non-violent resistance offered a way to channel anger into positive forms of protest. “If you internalize anger, and you don’t find a channel, it can destroy you,” she says. “That’s why when Daddy reiterated, ‘Hate is too great a burden to bear,’ he knew it was corrosive and erosive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though King became an icon of non-violence and peace, he also inwardly wrestled with anger and, at times, would snap at those he loved. Looking at how King dealt with anger reveals its dual nature—how it can be a motivating force for change, while also containing the potential for destruction.\u003c/p>\n\u003cp>When he was a young child, seeing his father’s anger had a real impact on King. Once, a white sales clerk told his father that they had to move to the back of a shoe store, rather than being waited on in the front of the shop. “Whereupon he took me by the hand and walked out of the store. This was the first time I had seen Dad so furious,” King later recalled, in a collection of writings called \u003cem>The Autobiography of Martin Luther King, Jr. \u003c/em>\u003c/p>\n\u003cp>“That experience revealed to me at a very early age that my father had not adjusted to the system, and he played a great part in shaping my conscience,” noted King.\u003c/p>\n\u003cp>King was only 26 years old when he was thrust into a leadership role in the struggle for civil rights. Rosa Parks had just been arrested in Montgomery, Alabama, where King was working as a preacher. King found himself having to speak before thousands of people who had gathered in a mass meeting at the Holt Street Baptist Church—and those people were upset.\u003c/p>\n\u003cp>“How could I make a speech that would be militant enough to keep my people aroused to positive action and yet moderate enough to keep this fervor within controllable and Christian bounds?” King later \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/mia-mass-meeting-holt-street-baptist-church\">wrote\u003c/a>. “What could I say to keep them courageous and prepared for positive action and yet devoid of hate and resentment? Could the militant and the moderate be combined in a single speech?”\u003c/p>\n\u003cp>He told the crowd that the only weapon they would use was the weapon of protest—that they would follow the teachings of Jesus.\u003c/p>\n\u003cp>Their resolve was soon tested when someone threw dynamite at King’s house. He rushed home to find that a crowd of his supporters had gathered, and some had weapons. His wife, Coretta Scott King, later wrote in her book \u003cem>My Life, My Love, My Legacy\u003c/em> that the atmosphere “was so rife with tension that if a black man had tripped over a white man, it could have set off a riot.”\u003c/p>\n\u003cp>King calmly stood on his front porch, told everyone to go home, and spoke about loving your enemies. “It was a really noble moment,” says \u003ca href=\"http://www.davidgarrow.com/\">David Garrow\u003c/a>, a historian who wrote a biography of King. “Most people would be expressing very intense anger, and he was utterly to the contrary.”\u003c/p>\n\u003cp>In private, though, King struggled. He later recalled that that night, he lay awake in bed thinking that his wife and baby could have been killed by the blast. He wrote, “I could feel the anger rising.” But then he caught himself, and thought, “You must not allow yourself to become bitter.”\u003c/p>\n\u003cp>“He deeply believed in something that almost sounds silly, that almost sounds trite, but he really believed in the power of redemptive love,” says \u003ca href=\"https://kinginstitute.stanford.edu/people/clarence-jones\">Clarence Jones\u003c/a>, who worked as an attorney and speechwriter for King.\u003c/p>\n\u003cp>“From Dr. King’s standpoint, anger is part of a process that includes anger, forgiveness, redemption and love,” explains Jones. “Because if you only have anger, the anger will paralyze you. You cannot do anything constructive.”\u003c/p>\n\u003cp>In 1963, Jones went to see King in jail, in Birmingham, Alabama. Jones was hoping to talk about how to raise bail for the imprisoned protesters, but King was preoccupied with a full-page ad that he had seen in the local newspaper. It was an open letter written by the local white clergymen, and it said King should leave the city. It didn’t have a word about the injustice of segregation.\u003c/p>\n\u003cp>“So he was very angry,” recalls Jones.\u003c/p>\n\u003cp>King’s \u003ca href=\"http://okra.stanford.edu/transcription/document_images/undecided/630416-019.pdf\">response\u003c/a>, initially scribbled on the scraps of paper he had in his cell, is the famous Letter from a Birmingham Jail. His anger propelled him to write one of the most powerful pieces of persuasive writing ever. He passionately \u003ca href=\"http://okra.stanford.edu/transcription/audio/630416001.mp3\">explained\u003c/a> the principles of non-violent protest and the righteous, justifiable anger of African-Americans.\u003c/p>\n\u003cp>That’s not to say King never just showed irritation or snapped at people. He was, after all, human.\u003c/p>\n\u003cp>“Yes, he got angry with people he worked with. But the anger was in the context of respect and love,” says Jones. He says King’s anger was often more like a disappointment that people had misunderstood what his expectations were or weren’t meeting them.\u003c/p>\n\u003cp>Those episodes became more common in the last months of his life, after years of nonstop tension and work, says Garrow.\u003c/p>\n\u003cp>“There were a number of occasions where King expressed irritation at close friends and staff members,” says Garrow, noting that King was apparently depressed, exhausted, and drinking a lot.\u003c/p>\n\u003cp>King’s close companion, \u003ca href=\"https://www.npr.org/2018/06/22/622678781/remembering-rev-ralph-david-abernathy-50-years-after-resurrection-city-came-down\">Ralph Abernathy\u003c/a>, has written that on the day he was assassinated, King argued with a female friend, lost his temper, and knocked her across a hotel room bed.\u003c/p>\n\u003cp>“It was more of a shove than a real blow, but for a short man, Martin had a prodigious strength that always surprised me,” Abernathy wrote in his autobiography, \u003cem>And the Walls Came Tumbling Down\u003c/em>. “She leapt up to fight back, and for a moment they were engaged in a full- blown fight, with Martin clearly winning. Then it was all over.”\u003c/p>\n\u003cp>Many found it shocking to think that King could be physically abusive to anyone, and Abernathy was widely criticized for telling this story.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.c-span.org/video/?9718-1/and-walls-tumbling-down&start=3447\">interview\u003c/a> with C-SPAN before he died, Abernathy said that King would have wanted him to be honest. “Jesus was a nonviolent personality,” noted Abernathy, “but Jesus became violent on one occasion when he ran the people out of the temple.”\u003c/p>\n\u003cp>\u003ca href=\"https://kinginstitute.stanford.edu/clayborne-carson\">Clayborne Carson\u003c/a>, director of the Martin Luther King Jr. Research and Education Institute at Stanford University, says he doesn’t know if this account about King is true.\u003c/p>\n\u003cp>“But I do recognize that a Martin Luther King can be angry. It would surprise me if that were not the case,” says Carson. “I have no doubt that he got mad. There were many things for him to get mad at. He felt sometimes betrayed by other people. He felt the same kind of impatience that other people felt with the pace of change. All of these things would anger him.”\u003c/p>\n\u003cp>He says King learned how to use that anger productively. “You could be angry that the system that is oppressing you, but try not to direct that anger towards people who were caught up in that system,” says Carson.\u003c/p>\n\u003cp>During the bus boycott in Montgomery, for example, King did occasionally lose his cool with white officials—and quickly regretted it. “I was weighed down by a terrible sense of guilt, remembering that on two or three occasions I had allowed myself to become angry and indignant,” King wrote. “I had spoken hastily and resentfully. Yet I knew that this was no way to solve a problem…you must be willing to suffer the anger of the opponent, and yet not return anger.”\u003c/p>\n\u003cp>This, he knew, was not always easy. Later, after he had become famous,King had an advice column in \u003cem>Ebony\u003c/em> magazine. Someone once \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/advice-living-0\">asked\u003c/a>, “How can I overcome my bad temper? When I am angry, I say things to those I love that hurt them terribly.”\u003c/p>\n\u003cp>King replied that the letter-writer had made an important first step by admitting this weakness. “You should also seek to concentrate on the higher virtue of calmness. You expel a lower vice by concentrating on a higher virtue,” King explained. “A destructive passion is harnessed by directing that same passion into constructive channels.”\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/691298594/696413704\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://NPR.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Martin Luther King Jr. dealt with anger in both his personal life and life's work. He often tried to turn his anger into constructive action, but he did occasionally struggle with that balance.","status":"publish","parent":0,"modified":1705026377,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1653},"headData":{"title":"The Power Of Martin Luther King Jr.'s Anger | KQED","description":"Martin Luther King Jr. dealt with anger in both his personal life and life's work. He often tried to turn his anger into constructive action, but he did occasionally struggle with that balance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Power Of Martin Luther King Jr.'s Anger","datePublished":"2019-04-04T19:26:03.000Z","dateModified":"2024-01-12T02:26:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"William Lovelace","nprByline":"Nell Greenfieldboyce","nprImageAgency":"Getty Images","nprStoryId":"691298594","nprApiLink":"http://api.npr.org/query?id=691298594&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/codeswitch/2019/02/20/691298594/the-power-of-martin-luther-king-jr-s-anger?ft=nprml&f=691298594","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Mar 2019 12:37:00 -0500","nprStoryDate":"Wed, 20 Feb 2019 16:33:00 -0500","nprLastModifiedDate":"Thu, 07 Mar 2019 12:37:19 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/02/20190220_atc_the_power_of_martin_luther_king_jrs_anger.mp3?orgId=1&topicId=1136&aggIds=688838187&d=359&p=2&story=691298594&ft=nprml&f=691298594","nprAudioM3u":"http://api.npr.org/m3u/1696413704-28e3dd.m3u?orgId=1&topicId=1136&aggIds=688838187&d=359&p=2&story=691298594&ft=nprml&f=691298594","audioTrackLength":360,"path":"/arts/13854299/the-power-of-martin-luther-king-jr-s-anger","audioUrl":"http://okra.stanford.edu/transcription/audio/630416001.mp3","audioDuration":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Martin Luther King, Jr. was in high school, he won an oratorical contest sponsored by the Negro Elks. He and a beloved teacher were returning home in triumph, riding on a bus, when some white passengers got on. The white bus driver ordered King and his teacher to give up their seats, and cursed them. King wanted to stay seated, but his teacher urged him to obey the law. They had to stand in the aisle for the 90 miles back to Atlanta, Ga.\u003c/p>\n\u003cp>“That night will never leave my memory,” King \u003ca href=\"https://playboysfw.kinja.com/martin-luther-king-jr-a-candid-conversation-with-the-n-1502354861\">told\u003c/a> an interviewer, decades later. “It was the angriest I have ever been in my life.”\u003c/p>\n\u003cp>In February this year, \u003ca href=\"https://www.npr.org/series/688838187/the-other-side-of-anger\" target=\"_blank\" rel=\"noopener\">NPR explored the power of anger\u003c/a>. And King is an example of someone who showed a kind of genius for turning that emotion into positive action.\u003c/p>\n\u003cp>“My father was extremely angry from that incident. So much so that he expressed it later on by saying that he came very dangerously close, at that particular time, to hating all white people,” says Bernice King, who now runs \u003ca href=\"http://thekingcenter.org/\">The King Center\u003c/a> in Atlanta.\u003c/p>\n\u003cp>As he grew older, and went to college and theological school, Martin Luther King, Jr. realized that non-violent resistance offered a way to channel anger into positive forms of protest. “If you internalize anger, and you don’t find a channel, it can destroy you,” she says. “That’s why when Daddy reiterated, ‘Hate is too great a burden to bear,’ he knew it was corrosive and erosive.”\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>Though King became an icon of non-violence and peace, he also inwardly wrestled with anger and, at times, would snap at those he loved. Looking at how King dealt with anger reveals its dual nature—how it can be a motivating force for change, while also containing the potential for destruction.\u003c/p>\n\u003cp>When he was a young child, seeing his father’s anger had a real impact on King. Once, a white sales clerk told his father that they had to move to the back of a shoe store, rather than being waited on in the front of the shop. “Whereupon he took me by the hand and walked out of the store. This was the first time I had seen Dad so furious,” King later recalled, in a collection of writings called \u003cem>The Autobiography of Martin Luther King, Jr. \u003c/em>\u003c/p>\n\u003cp>“That experience revealed to me at a very early age that my father had not adjusted to the system, and he played a great part in shaping my conscience,” noted King.\u003c/p>\n\u003cp>King was only 26 years old when he was thrust into a leadership role in the struggle for civil rights. Rosa Parks had just been arrested in Montgomery, Alabama, where King was working as a preacher. King found himself having to speak before thousands of people who had gathered in a mass meeting at the Holt Street Baptist Church—and those people were upset.\u003c/p>\n\u003cp>“How could I make a speech that would be militant enough to keep my people aroused to positive action and yet moderate enough to keep this fervor within controllable and Christian bounds?” King later \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/mia-mass-meeting-holt-street-baptist-church\">wrote\u003c/a>. “What could I say to keep them courageous and prepared for positive action and yet devoid of hate and resentment? Could the militant and the moderate be combined in a single speech?”\u003c/p>\n\u003cp>He told the crowd that the only weapon they would use was the weapon of protest—that they would follow the teachings of Jesus.\u003c/p>\n\u003cp>Their resolve was soon tested when someone threw dynamite at King’s house. He rushed home to find that a crowd of his supporters had gathered, and some had weapons. His wife, Coretta Scott King, later wrote in her book \u003cem>My Life, My Love, My Legacy\u003c/em> that the atmosphere “was so rife with tension that if a black man had tripped over a white man, it could have set off a riot.”\u003c/p>\n\u003cp>King calmly stood on his front porch, told everyone to go home, and spoke about loving your enemies. “It was a really noble moment,” says \u003ca href=\"http://www.davidgarrow.com/\">David Garrow\u003c/a>, a historian who wrote a biography of King. “Most people would be expressing very intense anger, and he was utterly to the contrary.”\u003c/p>\n\u003cp>In private, though, King struggled. He later recalled that that night, he lay awake in bed thinking that his wife and baby could have been killed by the blast. He wrote, “I could feel the anger rising.” But then he caught himself, and thought, “You must not allow yourself to become bitter.”\u003c/p>\n\u003cp>“He deeply believed in something that almost sounds silly, that almost sounds trite, but he really believed in the power of redemptive love,” says \u003ca href=\"https://kinginstitute.stanford.edu/people/clarence-jones\">Clarence Jones\u003c/a>, who worked as an attorney and speechwriter for King.\u003c/p>\n\u003cp>“From Dr. King’s standpoint, anger is part of a process that includes anger, forgiveness, redemption and love,” explains Jones. “Because if you only have anger, the anger will paralyze you. You cannot do anything constructive.”\u003c/p>\n\u003cp>In 1963, Jones went to see King in jail, in Birmingham, Alabama. Jones was hoping to talk about how to raise bail for the imprisoned protesters, but King was preoccupied with a full-page ad that he had seen in the local newspaper. It was an open letter written by the local white clergymen, and it said King should leave the city. It didn’t have a word about the injustice of segregation.\u003c/p>\n\u003cp>“So he was very angry,” recalls Jones.\u003c/p>\n\u003cp>King’s \u003ca href=\"http://okra.stanford.edu/transcription/document_images/undecided/630416-019.pdf\">response\u003c/a>, initially scribbled on the scraps of paper he had in his cell, is the famous Letter from a Birmingham Jail. His anger propelled him to write one of the most powerful pieces of persuasive writing ever. He passionately \u003ca href=\"http://okra.stanford.edu/transcription/audio/630416001.mp3\">explained\u003c/a> the principles of non-violent protest and the righteous, justifiable anger of African-Americans.\u003c/p>\n\u003cp>That’s not to say King never just showed irritation or snapped at people. He was, after all, human.\u003c/p>\n\u003cp>“Yes, he got angry with people he worked with. But the anger was in the context of respect and love,” says Jones. He says King’s anger was often more like a disappointment that people had misunderstood what his expectations were or weren’t meeting them.\u003c/p>\n\u003cp>Those episodes became more common in the last months of his life, after years of nonstop tension and work, says Garrow.\u003c/p>\n\u003cp>“There were a number of occasions where King expressed irritation at close friends and staff members,” says Garrow, noting that King was apparently depressed, exhausted, and drinking a lot.\u003c/p>\n\u003cp>King’s close companion, \u003ca href=\"https://www.npr.org/2018/06/22/622678781/remembering-rev-ralph-david-abernathy-50-years-after-resurrection-city-came-down\">Ralph Abernathy\u003c/a>, has written that on the day he was assassinated, King argued with a female friend, lost his temper, and knocked her across a hotel room bed.\u003c/p>\n\u003cp>“It was more of a shove than a real blow, but for a short man, Martin had a prodigious strength that always surprised me,” Abernathy wrote in his autobiography, \u003cem>And the Walls Came Tumbling Down\u003c/em>. “She leapt up to fight back, and for a moment they were engaged in a full- blown fight, with Martin clearly winning. Then it was all over.”\u003c/p>\n\u003cp>Many found it shocking to think that King could be physically abusive to anyone, and Abernathy was widely criticized for telling this story.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.c-span.org/video/?9718-1/and-walls-tumbling-down&start=3447\">interview\u003c/a> with C-SPAN before he died, Abernathy said that King would have wanted him to be honest. “Jesus was a nonviolent personality,” noted Abernathy, “but Jesus became violent on one occasion when he ran the people out of the temple.”\u003c/p>\n\u003cp>\u003ca href=\"https://kinginstitute.stanford.edu/clayborne-carson\">Clayborne Carson\u003c/a>, director of the Martin Luther King Jr. Research and Education Institute at Stanford University, says he doesn’t know if this account about King is true.\u003c/p>\n\u003cp>“But I do recognize that a Martin Luther King can be angry. It would surprise me if that were not the case,” says Carson. “I have no doubt that he got mad. There were many things for him to get mad at. He felt sometimes betrayed by other people. He felt the same kind of impatience that other people felt with the pace of change. All of these things would anger him.”\u003c/p>\n\u003cp>He says King learned how to use that anger productively. “You could be angry that the system that is oppressing you, but try not to direct that anger towards people who were caught up in that system,” says Carson.\u003c/p>\n\u003cp>During the bus boycott in Montgomery, for example, King did occasionally lose his cool with white officials—and quickly regretted it. “I was weighed down by a terrible sense of guilt, remembering that on two or three occasions I had allowed myself to become angry and indignant,” King wrote. “I had spoken hastily and resentfully. Yet I knew that this was no way to solve a problem…you must be willing to suffer the anger of the opponent, and yet not return anger.”\u003c/p>\n\u003cp>This, he knew, was not always easy. Later, after he had become famous,King had an advice column in \u003cem>Ebony\u003c/em> magazine. Someone once \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/advice-living-0\">asked\u003c/a>, “How can I overcome my bad temper? When I am angry, I say things to those I love that hurt them terribly.”\u003c/p>\n\u003cp>King replied that the letter-writer had made an important first step by admitting this weakness. “You should also seek to concentrate on the higher virtue of calmness. You expel a lower vice by concentrating on a higher virtue,” King explained. “A destructive passion is harnessed by directing that same passion into constructive channels.”\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/691298594/696413704\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\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>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://NPR.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13854299/the-power-of-martin-luther-king-jr-s-anger","authors":["byline_arts_13854299"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_4967","arts_2123","arts_7102","arts_1377"],"featImg":"arts_13854301","label":"arts"},"arts_13823377":{"type":"posts","id":"arts_13823377","meta":{"index":"posts_1591205157","site":"arts","id":"13823377","score":null,"sort":[1517438105000]},"guestAuthors":[],"slug":"civil-rights-song-we-shall-overcome-part-of-public-domain","title":"Civil Rights Song \"We Shall Overcome\" Part of Public Domain","publishDate":1517438105,"format":"standard","headTitle":"Civil Rights Song “We Shall Overcome” Part of Public Domain | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The civil rights anthem “We Shall Overcome,” which has been quoted by the Rev. Martin Luther King Jr. and was made popular by folk singer Pete Seeger, has been declared a part of public domain.\u003c/p>\n\u003cp>Ludlow Music, the song’s publisher, agreed in a New York federal court last week to back down on claims of copyright after losing a summary judgment in the case. The publisher said in a stipulation filed last Friday that it waived the right to appeal the judge’s opinion and agreed the melody and lyrics are “dedicated to the public domain.”\u003c/p>\n\u003cp>The lawsuit was filed by the We Shall Overcome Foundation, a group that wanted to make a documentary about the song, and Butler Films, which produced the 2013 film \u003cem>The Butler\u003c/em>.\u003c/p>\n\u003cp>The origins of the song are unclear, but precursors outlined in the lawsuit include hymns and African-American spirituals. In the 1940s, a song called “We Will Overcome” was used by striking tobacco workers in South Carolina. That song was then taught at the Highlander Folk School in Tennessee, an educational center that trained labor organizers as well as civil-rights leaders including King, Rosa Parks and John Lewis.\u003c/p>\n\u003cp>Ludlow filed for copyright of a version of the song in 1960 and again in 1963 to add Seeger’s name as a co-writer, although he later asked to be removed from the copyright. Proceeds from the writers’ royalties are provided to the Highlander Research and Education Center in Tennessee for a scholarship for art, cultural and activism projects in African-American communities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, a federal judge ruled that the melody and lyrics of the copyrighted version are not sufficiently original to qualify as a derivative work entitled to copyright.\u003c/p>\n\n","blocks":[],"excerpt":"Ludlow Music, the song's publisher, agreed last week to back down on claims of copyright ","status":"publish","parent":0,"modified":1705028633,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":301},"headData":{"title":"Civil Rights Song \"We Shall Overcome\" Part of Public Domain | KQED","description":"Ludlow Music, the song's publisher, agreed last week to back down on claims of copyright ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Civil Rights Song \"We Shall Overcome\" Part of Public Domain","datePublished":"2018-01-31T22:35:05.000Z","dateModified":"2024-01-12T03:03:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Kristin M. Hall, Associated Press","path":"/arts/13823377/civil-rights-song-we-shall-overcome-part-of-public-domain","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The civil rights anthem “We Shall Overcome,” which has been quoted by the Rev. Martin Luther King Jr. and was made popular by folk singer Pete Seeger, has been declared a part of public domain.\u003c/p>\n\u003cp>Ludlow Music, the song’s publisher, agreed in a New York federal court last week to back down on claims of copyright after losing a summary judgment in the case. The publisher said in a stipulation filed last Friday that it waived the right to appeal the judge’s opinion and agreed the melody and lyrics are “dedicated to the public domain.”\u003c/p>\n\u003cp>The lawsuit was filed by the We Shall Overcome Foundation, a group that wanted to make a documentary about the song, and Butler Films, which produced the 2013 film \u003cem>The Butler\u003c/em>.\u003c/p>\n\u003cp>The origins of the song are unclear, but precursors outlined in the lawsuit include hymns and African-American spirituals. In the 1940s, a song called “We Will Overcome” was used by striking tobacco workers in South Carolina. That song was then taught at the Highlander Folk School in Tennessee, an educational center that trained labor organizers as well as civil-rights leaders including King, Rosa Parks and John Lewis.\u003c/p>\n\u003cp>Ludlow filed for copyright of a version of the song in 1960 and again in 1963 to add Seeger’s name as a co-writer, although he later asked to be removed from the copyright. Proceeds from the writers’ royalties are provided to the Highlander Research and Education Center in Tennessee for a scholarship for art, cultural and activism projects in African-American communities.\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>\n\u003cp>In September, a federal judge ruled that the melody and lyrics of the copyrighted version are not sufficiently original to qualify as a derivative work entitled to copyright.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823377/civil-rights-song-we-shall-overcome-part-of-public-domain","authors":["byline_arts_13823377"],"programs":["arts_1272"],"categories":["arts_71"],"tags":["arts_1448","arts_2123","arts_596"],"featImg":"arts_13819437","label":"arts_1272"},"arts_13819256":{"type":"posts","id":"arts_13819256","meta":{"index":"posts_1591205157","site":"arts","id":"13819256","score":null,"sort":[1516291206000]},"guestAuthors":[],"slug":"tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script","title":"'Tell 'Em About the Dream': Kronos Quartet Explores Moment MLK Went Off-Script","publishDate":1516291206,"format":"image","headTitle":"‘Tell ‘Em About the Dream’: Kronos Quartet Explores Moment MLK Went Off-Script | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Martin Luther King may have never delivered his “\u003ca href=\"https://www.archives.gov/files/press/exhibits/dream-speech.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">I Have a Dream\u003c/a>” speech if it weren’t for two musicians.\u003c/p>\n\u003cp>One of them is King’s personal lawyer and speechwriter, \u003ca href=\"https://www.npr.org/2013/08/27/214224111/clarence-b-jones-a-guiding-hand-behind-i-have-a-dream\" target=\"_blank\" rel=\"noopener noreferrer\">Clarence Jones\u003c/a>, a classically trained clarinetist. Upon meeting King, Jones agreed to join his mission in part because of the young minister’s oratory abilities, particularly the musical qualities of his booming voice. Eventually, Jones’ notes from his conversations with King — about segregation, discrimination, financial disenfranchisement, and voter suppression — made their way into the first several paragraphs of “I Have a Dream.”\u003c/p>\n\u003cp>But it was \u003ca href=\"https://en.wikipedia.org/wiki/Mahalia_Jackson\" target=\"_blank\" rel=\"noopener noreferrer\">Mahalia Jackson\u003c/a>, the New Orleans-born singer widely regarded as the Queen of Gospel, who prompted King to go off-script on Aug. 28, 1963 at the March on Washington. When King was two-thirds of the way into his pre-written delivery, as Jones has recalled in various interviews, she shouted out from behind the podium, “Tell ’em about the dream, Martin.” King moved aside his script and began to improvise the speech’s most iconic passage, and that dream became synonymous with the civil rights movement as we know it today.\u003c/p>\n\u003cp>https://youtu.be/KxlOlynG6FY\u003c/p>\n\u003cp>That seemingly minute yet crucial moment in our nation’s history captivated \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a> founder and violinist David Harrington, who reached out to Jones after learning about it on the 50th anniversary of the “I Have a Dream” speech in 2013.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m really interested in these pivotal details that kind of shape things,” says Harrington, when I meet him at Kronos Quartet’s Sunset District headquarters. He’s just finished a rehearsal for \u003cem>Peace Be Till\u003c/em>, a new piece based on that historic moment in Washington, D.C., composed by the young, Oakland-based musician \u003ca href=\"http://zacharyjameswatkins.com/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Zachary James Watkins\u003c/a>, to be debuted at \u003ca href=\"https://www.carnegiehall.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Carnegie Hall\u003c/a> in New York.\u003c/p>\n\u003cfigure id=\"attachment_13819432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819432\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg\" alt=\"Zachary James Watkins (left) and David Harrington at Kronos Quartet's rehearsal for 'Peace Be Till.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zachary James Watkins (left) and David Harrington at Kronos Quartet’s rehearsal for ‘Peace Be Till.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After learning about Mahalia Jackson’s exhortation to King, Harrington looked up Jones, who is now 87 years old and lives in Palo Alto. (“I Have a Dream” wasn’t the only crucial role Jones has played in history: He was the first African-American partner at a Wall Street investment bank, and he coordinated legal counsel for King in a landmark Supreme Court case — \u003cem>Sullivan vs. the New York Times\u003c/em> — that came to define our current understanding of libel.) These days, Jones is a visiting professor at the University of San Francisco and a scholar-in-residence at Stanford.\u003c/p>\n\u003cp>“Very quickly, he and I were talking, and basically he told me the whole story,” says Harrington. “He mentioned that he’d grown up wanting to be a clarinetist, and he studied at Julliard. When you start adding things up, Martin Luther King surrounded himself with musicians.”\u003c/p>\n\u003cp>Fast forward to 2017, when Carnegie Hall invited Kronos Quartet to participate in a festival, \u003cem>The ’60s: The Years that Changed America\u003c/em>. Harrington had been thinking of a way to tell the story of Martin Luther King, Jr. and Mahalia Jackson through music. Watkins, best known for his experimental duo \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/the-time-traversing-sound-of-oaklands-black-spirituals/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Spirituals\u003c/a>, turned out to be the perfect composer for the challenge. With his academic training and DIY approach, his work with Black Spirituals is \u003ca href=\"https://www.nytimes.com/2015/09/24/arts/music/review-black-spirituals-a-duo-that-defies-categories.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed\u003c/a> for channeling African-American legacies of music-as-resistance through visceral, emotive improvisation.\u003c/p>\n\u003cp>https://youtu.be/84nQjR9rQho\u003c/p>\n\u003cp>After Harrington tapped him for the project, Watkins, too, became obsessed with that significant interaction between King and Mahalia Jackson. “What is it that Mahalia sensed at that moment? What kinds of skills or qualities does it take to have the instinct to know this timing?” Watkins says, snapping his fingers emphatically. “Timing is part of the art we do. And it’s bigger than performance in this case. It’s about the timing of our consciousness, so she’s a really heavy person in that moment. That’s the weight this piece is attempting to explore.”\u003c/p>\n\u003cp>https://youtu.be/-t99yQQUi4g\u003c/p>\n\u003cp>\u003cem>Peace Be Till\u003c/em> features Watkins’ original score for Kronos Quartet, electronic sound design elements, and audio from his two-hour sit down with Jones at Women’s Audio Mission, where he interviewed him about his first time meeting King and the moments leading up to “I Have a Dream.” Watkins juxtaposes these personal anecdotes with Jones reading from King’s seminal text “\u003ca href=\"https://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html\" target=\"_blank\" rel=\"noopener noreferrer\">Letter from a Birmingham Jail\u003c/a>,” which doesn’t mince words in calling out systemic racism and white moderates’ complacency in injustice.\u003c/p>\n\u003cp>The musicality of speech and how it can move people on an emotional level is another important line of inquiry for Watkins in \u003cem>Peace Be Till\u003c/em>. “Never had I heard any human being on two legs with a voice — never, never, ever had I heard anyone speak like that! It was mesmerizing! It was spellbinding,” says Jones of his first impression of King in the interview snippet Watkins uses in the piece. The same could be said about Jones’ own style of speaking: Carefully measured, yet emphatic when it needs to be, with a vigorous delivery that resounds from the chest.\u003c/p>\n\u003cfigure id=\"attachment_13819461\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-800x1136.jpg\" alt=\"Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-520x738.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images for PTTOW!)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a big part of the early stage of the piece: Listening and trying to gather musical ideas from [Clarence’s] voice and the tempo of his speaking,” says Watkins.\u003c/p>\n\u003cp>In the section rehearsed from the piece, Watkins chops up Jones’ narration out of chronological order, splicing his memories with drone-like humming, celestial electronics, and booming echoes that create a dreamlike, subliminally emotional effect. Snippets of singing well up throughout like the beginnings of, well, a black spiritual.\u003c/p>\n\u003cp>“Basically he’s talking about how his training in music and his own musical sensibility — how that was a resource for working with Dr. King, especially as a speech writer,” the composer says. “I really appreciated that information because that’s actually very deep, what he’s saying there.”\u003c/p>\n\u003cp>He elaborates: “It’s almost mystical how we are moved by speaking and speakers. And there’s also something that we can understand about oration and congregating and preaching. The voice — pretty powerful.” (Jones poignantly describes King’s speeches as “a symphony of social justice” in \u003cem>Peace Be Till\u003c/em>.)\u003c/p>\n\u003cp>Field recordings Watkins took of chains clanging — evoking the passage of the enslaved from Africa — and the recent Berkeley alt-right protests and counter-protests tether \u003cem>Peace Be Till\u003c/em> to the present as well as America’s inescapable history of subjugation and oppression. But its emphasis is on a historical figure who, perhaps like no other in recent history, united the masses to mobilize for justice — something that’s achingly missing from our deeply divided political moment.\u003c/p>\n\u003cp>One remedy for that? Listening, says Watkins.\u003c/p>\n\u003cp>“I think that we could all listen better,” he says. “That type of hunger to hear and to experience through patience and attentive listening can actually affect your energy, your decision-making, and just your engagement with the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>More on Kronos Quartet can be found \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-800x450.jpg\" alt=\"The civil rights leader Martin Luther King waves to supporters on Aug. 28, 1963 at the March on Washington.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Kronos Quartet commissioned Oakland composer Zachary James Watkins for a piece that explores a minute yet crucial moment in civil rights history. ","status":"publish","parent":0,"modified":1705028744,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1271},"headData":{"title":"'Tell 'Em About the Dream': Kronos Quartet Explores Moment MLK Went Off-Script | KQED","description":"Kronos Quartet commissioned Oakland composer Zachary James Watkins for a piece that explores a minute yet crucial moment in civil rights history. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Tell 'Em About the Dream': Kronos Quartet Explores Moment MLK Went Off-Script","datePublished":"2018-01-18T16:00:06.000Z","dateModified":"2024-01-12T03:05:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Luther King may have never delivered his “\u003ca href=\"https://www.archives.gov/files/press/exhibits/dream-speech.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">I Have a Dream\u003c/a>” speech if it weren’t for two musicians.\u003c/p>\n\u003cp>One of them is King’s personal lawyer and speechwriter, \u003ca href=\"https://www.npr.org/2013/08/27/214224111/clarence-b-jones-a-guiding-hand-behind-i-have-a-dream\" target=\"_blank\" rel=\"noopener noreferrer\">Clarence Jones\u003c/a>, a classically trained clarinetist. Upon meeting King, Jones agreed to join his mission in part because of the young minister’s oratory abilities, particularly the musical qualities of his booming voice. Eventually, Jones’ notes from his conversations with King — about segregation, discrimination, financial disenfranchisement, and voter suppression — made their way into the first several paragraphs of “I Have a Dream.”\u003c/p>\n\u003cp>But it was \u003ca href=\"https://en.wikipedia.org/wiki/Mahalia_Jackson\" target=\"_blank\" rel=\"noopener noreferrer\">Mahalia Jackson\u003c/a>, the New Orleans-born singer widely regarded as the Queen of Gospel, who prompted King to go off-script on Aug. 28, 1963 at the March on Washington. When King was two-thirds of the way into his pre-written delivery, as Jones has recalled in various interviews, she shouted out from behind the podium, “Tell ’em about the dream, Martin.” King moved aside his script and began to improvise the speech’s most iconic passage, and that dream became synonymous with the civil rights movement as we know it today.\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/KxlOlynG6FY'\n title='//www.youtube.com/embed/KxlOlynG6FY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That seemingly minute yet crucial moment in our nation’s history captivated \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a> founder and violinist David Harrington, who reached out to Jones after learning about it on the 50th anniversary of the “I Have a Dream” speech in 2013.\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>“I’m really interested in these pivotal details that kind of shape things,” says Harrington, when I meet him at Kronos Quartet’s Sunset District headquarters. He’s just finished a rehearsal for \u003cem>Peace Be Till\u003c/em>, a new piece based on that historic moment in Washington, D.C., composed by the young, Oakland-based musician \u003ca href=\"http://zacharyjameswatkins.com/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Zachary James Watkins\u003c/a>, to be debuted at \u003ca href=\"https://www.carnegiehall.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Carnegie Hall\u003c/a> in New York.\u003c/p>\n\u003cfigure id=\"attachment_13819432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819432\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg\" alt=\"Zachary James Watkins (left) and David Harrington at Kronos Quartet's rehearsal for 'Peace Be Till.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zachary James Watkins (left) and David Harrington at Kronos Quartet’s rehearsal for ‘Peace Be Till.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After learning about Mahalia Jackson’s exhortation to King, Harrington looked up Jones, who is now 87 years old and lives in Palo Alto. (“I Have a Dream” wasn’t the only crucial role Jones has played in history: He was the first African-American partner at a Wall Street investment bank, and he coordinated legal counsel for King in a landmark Supreme Court case — \u003cem>Sullivan vs. the New York Times\u003c/em> — that came to define our current understanding of libel.) These days, Jones is a visiting professor at the University of San Francisco and a scholar-in-residence at Stanford.\u003c/p>\n\u003cp>“Very quickly, he and I were talking, and basically he told me the whole story,” says Harrington. “He mentioned that he’d grown up wanting to be a clarinetist, and he studied at Julliard. When you start adding things up, Martin Luther King surrounded himself with musicians.”\u003c/p>\n\u003cp>Fast forward to 2017, when Carnegie Hall invited Kronos Quartet to participate in a festival, \u003cem>The ’60s: The Years that Changed America\u003c/em>. Harrington had been thinking of a way to tell the story of Martin Luther King, Jr. and Mahalia Jackson through music. Watkins, best known for his experimental duo \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/the-time-traversing-sound-of-oaklands-black-spirituals/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Spirituals\u003c/a>, turned out to be the perfect composer for the challenge. With his academic training and DIY approach, his work with Black Spirituals is \u003ca href=\"https://www.nytimes.com/2015/09/24/arts/music/review-black-spirituals-a-duo-that-defies-categories.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed\u003c/a> for channeling African-American legacies of music-as-resistance through visceral, emotive improvisation.\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/84nQjR9rQho'\n title='//www.youtube.com/embed/84nQjR9rQho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Harrington tapped him for the project, Watkins, too, became obsessed with that significant interaction between King and Mahalia Jackson. “What is it that Mahalia sensed at that moment? What kinds of skills or qualities does it take to have the instinct to know this timing?” Watkins says, snapping his fingers emphatically. “Timing is part of the art we do. And it’s bigger than performance in this case. It’s about the timing of our consciousness, so she’s a really heavy person in that moment. That’s the weight this piece is attempting to explore.”\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/-t99yQQUi4g'\n title='//www.youtube.com/embed/-t99yQQUi4g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Peace Be Till\u003c/em> features Watkins’ original score for Kronos Quartet, electronic sound design elements, and audio from his two-hour sit down with Jones at Women’s Audio Mission, where he interviewed him about his first time meeting King and the moments leading up to “I Have a Dream.” Watkins juxtaposes these personal anecdotes with Jones reading from King’s seminal text “\u003ca href=\"https://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html\" target=\"_blank\" rel=\"noopener noreferrer\">Letter from a Birmingham Jail\u003c/a>,” which doesn’t mince words in calling out systemic racism and white moderates’ complacency in injustice.\u003c/p>\n\u003cp>The musicality of speech and how it can move people on an emotional level is another important line of inquiry for Watkins in \u003cem>Peace Be Till\u003c/em>. “Never had I heard any human being on two legs with a voice — never, never, ever had I heard anyone speak like that! It was mesmerizing! It was spellbinding,” says Jones of his first impression of King in the interview snippet Watkins uses in the piece. The same could be said about Jones’ own style of speaking: Carefully measured, yet emphatic when it needs to be, with a vigorous delivery that resounds from the chest.\u003c/p>\n\u003cfigure id=\"attachment_13819461\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-800x1136.jpg\" alt=\"Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-520x738.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images for PTTOW!)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a big part of the early stage of the piece: Listening and trying to gather musical ideas from [Clarence’s] voice and the tempo of his speaking,” says Watkins.\u003c/p>\n\u003cp>In the section rehearsed from the piece, Watkins chops up Jones’ narration out of chronological order, splicing his memories with drone-like humming, celestial electronics, and booming echoes that create a dreamlike, subliminally emotional effect. Snippets of singing well up throughout like the beginnings of, well, a black spiritual.\u003c/p>\n\u003cp>“Basically he’s talking about how his training in music and his own musical sensibility — how that was a resource for working with Dr. King, especially as a speech writer,” the composer says. “I really appreciated that information because that’s actually very deep, what he’s saying there.”\u003c/p>\n\u003cp>He elaborates: “It’s almost mystical how we are moved by speaking and speakers. And there’s also something that we can understand about oration and congregating and preaching. The voice — pretty powerful.” (Jones poignantly describes King’s speeches as “a symphony of social justice” in \u003cem>Peace Be Till\u003c/em>.)\u003c/p>\n\u003cp>Field recordings Watkins took of chains clanging — evoking the passage of the enslaved from Africa — and the recent Berkeley alt-right protests and counter-protests tether \u003cem>Peace Be Till\u003c/em> to the present as well as America’s inescapable history of subjugation and oppression. But its emphasis is on a historical figure who, perhaps like no other in recent history, united the masses to mobilize for justice — something that’s achingly missing from our deeply divided political moment.\u003c/p>\n\u003cp>One remedy for that? Listening, says Watkins.\u003c/p>\n\u003cp>“I think that we could all listen better,” he says. “That type of hunger to hear and to experience through patience and attentive listening can actually affect your energy, your decision-making, and just your engagement with the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>More on Kronos Quartet can be found \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-800x450.jpg\" alt=\"The civil rights leader Martin Luther King waves to supporters on Aug. 28, 1963 at the March on Washington.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script","authors":["11387"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_5426","arts_2733","arts_1312","arts_1118","arts_2244","arts_2123","arts_596"],"featImg":"arts_13819437","label":"arts"},"arts_13819139":{"type":"posts","id":"arts_13819139","meta":{"index":"posts_1591205157","site":"arts","id":"13819139","score":null,"sort":[1516032021000]},"guestAuthors":[],"slug":"a-drag-artists-look-back-at-1963","title":"Journey into 1963 with Comic Artist Diego Gómez","publishDate":1516032021,"format":"image","headTitle":"Journey into 1963 with Comic Artist Diego Gómez | KQED","labelTerm":{"term":4414,"site":"arts"},"content":"\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The year of Martin Luther King, Jr.'s March on Washington, social upheaval loomed in ways both big and small — as captured in Diego Gómez's new comic book.","status":"publish","parent":0,"modified":1705028770,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1535},"headData":{"title":"Journey into 1963 with Comic Artist Diego Gómez | KQED","description":"The year of Martin Luther King, Jr.'s March on Washington, social upheaval loomed in ways both big and small — as captured in Diego Gómez's new comic book.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Journey into 1963 with Comic Artist Diego Gómez","datePublished":"2018-01-15T16:00:21.000Z","dateModified":"2024-01-12T03:06:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13819139/a-drag-artists-look-back-at-1963","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\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>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819139/a-drag-artists-look-back-at-1963","authors":["11333"],"series":["arts_4414"],"categories":["arts_73","arts_835","arts_70"],"tags":["arts_2733","arts_1942","arts_1556","arts_1118","arts_2123","arts_596"],"featImg":"arts_13819149","label":"arts_4414"}},"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/2024/04/Possible-Podcast-Tile-360x360-1.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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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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