Today’s GBN Daily Drop podcast is based on the Thursday, March 3 entry in the “A Year of Good Black News” Page-A-Day®️ Calendar for 2022 that features a quote from professor, author and former Black Panther Party member Kathleen Cleaver about the lineage of women freedom fighters in America:
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SHOW TRANSCRIPT:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Thursday, March 3rd, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
It’s a quote from professor, author and former Black Panther Party member Kathleen Cleaver from her 1998 essay, “Women, Power and Revolution”:
“I think it is important to place the women who fought oppression as Black Panthers within the longer tradition of freedom fighters like Sojourner Truth, Harriet Tubman, Ida Wells-Barnett, who took on an entirely oppressive world and insisted that their race, their gender, and their humanity be respected all at the same time.”
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This is Ida B. Wells. Best known for being a late 19th/early 20th-century journalist, anti-lynching crusader and women’s rights advocate. In 2020, Wells received a posthumous Pulitzer Prize for journalism, and her face honored the centennial of the U.S. Suffragist Movement in a mosaic art installation in Washington D.C.’s Union Station.
Wells is a helluva historical figure who still far too few people know about. Her whole life is fascinating, so I’ll try to keep it short and focussed on her work. If you don’t have time for it now, right below is a great quote summing up Wells’ importance in the fight for equality and justice from the New York Times review of the 1999 biography on Wells:
“Linda O. McMurry‘s important new biography, To Keep the Waters Troubled, tells the story of an extraordinary American who would have been at the very summit of our national pantheon except for two things: her sex and her race. But then again, being born into a society that promised individual freedom and personal power — just not to blacks, not to women and above all not to black women — was the source of Ida B. Wells’s remarkable story.”
Wells was one of the first African-American female journalists to run her own newspaper, was an outspoken feminist, suffragist, an international figure and speaker, and early leader in the Civil Rights Movement who helped found the NAACP with W.E.B. DuBois and others, and helped women get and consolidate their power around voting in Illinois when they won the right.
But what fascinates me the most is her near one-woman crusade against lynching, and how she used her investigative, reporting, and oratory skills not only to document lynchings in the 1890s, but also to disprove the lie that Black men were raping white women or committing crimes that justified their mob hangings.
Wells offered real proof that lynching was being used in the South as a way to control or punish Black people who competed with whites. Even after the offices of her newspaper, Free Speech and Headlight, were burned down and she had to relocate from Memphis to Chicago to escape death threats, Wells persisted with her work.
Although there was major resistance in the U.S., Wells garnered support from the British, who after reading her work and hearing her speeches (they also witnessed her being dragged unfairly in the American press), offered monetary support and formed the British Anti-Lynching Committee, which included prominent members such as the Duke of Argyll, the Archbishop of Canterbury, members of Parliament, and the editors of The Manchester Guardian, who put international pressure on the U.S. to address these horrific crimes against Black Americans.
Wells’ crusade against lynching started in 1889, when her friend Thomas Moss opened the Peoples Grocery in the “Curve,” a Black neighborhood just outside Memphis city limits. It did well and competed with a white-owned grocery store across the street.
In 1892, while Wells was out of town, a white mob invaded her friends’ store. During the altercation, three white men were shot and injured. Moss and two other black men were arrested and jailed pending trial. A white lynch mob stormed the jail and killed the three men.
After the lynching of her friends, Wells wrote an editorial and became an ersatz civil rights leader and firebrand, urging Blacks to leave Memphis altogether. More than 6,000 black people did leave Memphis; others organized boycotts of white-owned businesses. After being threatened with violence, Wells bought a pistol. She later wrote, “They had made me an exile and threatened my life for hinting at the truth.”
Wells began her investigation by looking at the charges given for her friends’ murders, which officially started her anti-lynching campaign. She spoke at various Black women’s clubs, and raised more than $500 to investigate lynchings and publish her findings. Wells found that Blacks were lynched primarily for social control reasons such as failing to pay debts, not appearing to give way to whites, competing with whites economically, or being drunk in public.
She found little basis for the frequent claim that Black men were lynched because they had sexually abused or attacked white women. This alibi seemed to have partly accounted for white America’s collective acceptance or silence on lynching, as well as its acceptance by many in the educated African-American community.
Wells published her findings in a pamphlet called Southern Horrors: Lynch Law in All Its Phases. She followed it with an editorial that said, unlike the myth that white women were sexually at risk of attacks by Black men, most liaisons between Black men and white women were consensual.
Her editorial enraged white men in Memphis. On May 27, 1892, while she was away in Philadelphia, a white mob destroyed the offices of the Free Speech and Headlight.
To quote again from the 1999 New York Times Review:
“Wells exposed as false the most common justification for these lynchings: that they were necessitated by sexual ”outrages” committed by Black men against white women. Perhaps only a woman could have spoken out effectively against these charges, but doing so exposed Wells to attacks against her sexual character. Her willingness to talk openly about rape and interracial sex kept her from succeeding the aging Frederick Douglass as ”leader of the Afro-American race,” the most respected Negro in the United States among whites. This role went instead to a man and a nonmilitant, Booker T. Washington.”
In continued efforts to raise awareness and opposition to lynching, Wells spoke to groups in New York City, where her audiences included many leading African-American women.
On October 5, 1892, a testimonial dinner held at Lyric Hall, organized by political activists and clubwomen, Victoria Earle Matthews and Maritcha Remond Lyons, raised significant funds for Wells’ anti-lynching campaign. The Women’s Loyal Union of New York and Brooklyn was formed to organize Black women as an interest group who could act politically.
Wells toured Europe in her campaign for justice, but the first tour in 1893 didn’t go so well. Wells went to Great Britain at the invitation of Catherine Impey, a British Quaker. An opponent of imperialism and proponent of racial equality, Impey wanted to ensure that the British public learned about the problem of lynching in the U.S.
Wells accompanied her speeches with a photograph of a white mob and grinning white children posing near a hanged Black man; her talks created a sensation, but some in the audiences remained doubtful of her accounts. Wells intended to raise money and expose the U.S. lynching violence, but received so little funds that she had difficulty covering her travel expenses.
Before her second visit to Britain in 1894, the enterprising Wells worked to get some backing. Wells called on William Penn Nixon, editor of Daily Inter-Ocean, a Republican newspaper in Chicago, the only major white paper that persistently denounced lynching.
After Wells told Nixon about her planned tour, he asked her to write for the newspaper while in England, making her the first African-American woman to be a paid correspondent for a mainstream white newspaper. This time, Wells was highly effective in speaking to European audiences, who were shocked to learn about the rate of violence against Black people in the U.S.
Wells called for the formation of groups to formally protest the lynchings and helped catalyze anti-lynching groups in Europe, which tried to press the U.S. government to guarantee the safety of Black people in the South.
When she spoke at home to Black crowds, Wells was a one-woman precursor to the 1950s Deacons of Defense or the 1960s Black Panthers or even Malcolm X: she recommended that Black people arm themselves to defend against lynching:
“The lesson this teaches and which every Afro-American should ponder well, is that a Winchester rifle should have a place of honour in every black home, and it should be used for that protection which the law refuses to give. When the white man who is always the aggressor knows he runs as great a risk of biting the dust every time his Afro-American victim does, he will have greater respect for Afro-American life. The more the Afro-American yields and cringes and begs, the more he has to do so, the more he is insulted, outraged and lynched.”
Wells subsequently published The Red Record(1895), a 100-page pamphlet describing lynching in the U.S. since the Emancipation Proclamation of 1863. It also covered Black people’s struggles in the South since the Civil War. The Red Record explored the alarmingly high rates of lynching in the United States (which was at a peak from 1880 to 1930).
Wells gave 14 pages of statistics related to lynching cases committed from 1892 to 1895; she also included pages of graphic accounts detailing specific lynchings. She notes that her data was taken from articles by white correspondents, white press bureaus, and white newspapers.
The Red Record had far-reaching influence in the debate about lynching. Her accounts grabbed the attention of Northerners who knew little about lynching or accepted the common explanation that black men deserved this fate.
During this time, Wells also had to deal with dust-ups with white women suffragists such as Susan B. Anthony and Frances Willard. Anthony was critical of Wells for getting “distracted” by her young son who she had to bring with her on occasion to speaking engagements.
Willard went out of her way to try to discredit Wells in the press after Wells called Willard out for being silent lynching and for making racist statements where she said Black people drank too much and threatened the safety of women. Wells clapped back at Willard in The Red Record with an entire chapter dedicated to discussing “Miss Willard’s Attitude.”
In 1896, Wells founded the National Association of Colored Women’s Clubs and the National Afro-American Council. In Chicago, Wells also worked to improve conditions for its rapidly growing African-American population due to the Great Migration to northern industrial cities.
Wells worked on urban reform in Chicago during the last thirty years of her life. Wells began writing her autobiography, Crusade for Justice, in 1928 but never finished it; she died of uremia (kidney failure) in Chicago on March 25, 1931, at the age of 68.
In her hometown of Holly Springs, Mississippi, the Ida B.Wells-Barnett Museum acts as a cultural center of African American history. Awards have been established in Wells’s name by the National Association of Black Journalists, the Medill School of Journalism at Northwestern University, and the New York County Lawyers Assn., among others.
More than 80 movies by and about African Americans will be screened in D.C. next week as part of the inaugural Smithsonian’s African American Film Festival.
The four-day festival, which runs from Oct. 24 – 27, includes films ranging from Hollywood hits to experimental shorts. The event is organized by the National Museum of African American History and Culture.
The festival’s goal is to introduce the breadth and depth of African American film to a wider audience, according to Kinshasha Holman Conwill, the museum’s deputy director.
“There’s something for the cinephile who knows film like that back of her or his hand, and there’s something for the person who’s just learning about African American film,” she said. “From the most popular to the most provocative, it is all here.”
Most of the screenings will take place in the museum’s Oprah Winfrey Theater, though the Freer|Sackler and National Gallery of Art will also host some screenings.
The festival kicks off on Wednesday night with Widows, a new film starring Viola Davis that doesn’t hit theaters until mid-November. The director, Steve McQueen, became the first black filmmaker to win an Academy Award for Best Picture for his 2013 film 12 Years A Slave. If you’re interested in attending the Widows screening, you’re unfortunately out of luck – it’s already sold out.
The festival will also give audiences the chance to see films from the museum’s extensive collection. These range from Garden, a five-minute experimental short from 2017, to Black Panthers, a 1968 documentary about the Black Panther Party and its members’ fight to free their imprisoned co-founder Huey P. Newton.
And while the 2017 Marvel superhero movie Black Panther isn’t part of the lineup, attendees of the festival’s “Night at the Museum” celebration on Oct. 25 will be able to see the costume worn by actor Chadwick Boseman in the blockbuster film on display for the first time. The museum acquired the costume and other objects from the film earlier this year.
Netflix will stream its new documentary Quincy on Friday, Oct. 26. The film tells the story of the iconic music producer and singer Quincy Jones; it was co-produced by his daughter, the actress Rashida Jones. The titular Jones will speak on a panel following the screening.
If you’d rather talk than watch, you can attend one of the festival’s free Exchanges forums at the Freer|Sackler. Discussion topics include stop-motion animation and the museum’s home movie digitization project, Great Migration. Under that program, visitors can bring in home videos made on obsolete media (we’re talking eight-millimeter film and cassettes) and get them digitized and preserved.
“What it allows us to do,” said Rhea Combs, the museum’s film and photographer curator, “is tell the American story through the African American lens. Literally.”
The festival also builds upon work started by the D.C. Black Film Festival to highlight lesser-known black filmmakers and actors for the Washington audience. “We don’t ever want to be the all-consuming Smithsonian that comes into a community and takes over,” Conwill said of its role in the broader film festival ecosystem. The D.C. Black Film Festival celebrated its second event this year.
The African American Film Festival’s closing day features an awards ceremony for the juried film competition. Fifteen finalist films are competing in six different categories: Best Documentary Short, Best Narrative Short, Best Documentary Feature, Best Narrative Feature, Best Experimental & Animation, and the Audience Award.
The festival closes Saturday night with a screening of a film adaptation of James Baldwin’s 1974 novel, If Beale Street Could Talk.
You can buy tickets for specific films or events here, and see the full slate of screenings here. The festival is scheduled to recur every other year at the museum.
by Brennan Williams via huffpost.com Antoine Fuqua is developing a film about the late activist and Black Panther affiliate Fred Hampton. The project is based on Jeffrey Haas’ 2009 book The Assassination of Fred Hampton: How the FBI and the Chicago Police Murdered a Black Panther, according to Variety. Beginning at the age of 15, Hampton inserted himself into the world of activism by organizing a chapter of the NAACP at his high school and later became the chairman of the Illinois Black Panther Party at age 20.
Haas’ book, adapted for the screen by screenwriter Chris Smith, uncovers the controversial events surrounding Hampton’s 1969 murder. The 21-year-old was shot dead in his bed as 14 officers opened fire during a police raid. Though Hampton’s death was ruled as a “justifiable” homicide by officials, Hampton’s surviving family members filed a civil lawsuit in 1970, which resulted in a settlement of $1.85 million in 1982. The untitled project is a part of Fuqua’s new production deal with Sony Studios.
For the filmmaker, the new deal is a homecoming of sorts as the film studio has helmed some of his biggest films including “The Equalizer,” “Training Day,” and his breakout feature, “The Replacement Killers.” “I started my feature film career almost 20 years ago at Columbia,” Fuqua said to Variety about rejoining Sony for his new deal. “Since then some of my biggest career achievements have been with the studio. I am proud of our work together and am very much looking forward to this new collaboration and our upcoming creative endeavors.”
As Fuqua continues to develop his Fred Hampton project, fans can expect the filmmaker to reteam with Denzel Washington for the sequel to their 2014 blockbuster, “The Equalizer,” which will hit theaters September 2018. To read full article, go to: Antoine Fuqua To Develop Film Based On Black Panther Murdered By Police | HuffPost
article by Lori Lakin Hutcherson (follow @lakinhutcherson)
Something tells me we will soon have to invent a new way to say “slay,” because if the boss moves perpetrated in the last two days by Beyoncé have shown us anything, they’ve shown us she has every intention of erecting on top of the foundation she laid with 2013’s “Beyoncé” an impenetrable Fortress of Slayage where the word will soon retire itself (because really, where else has it to go?).
To recap, not only did Queen Bey the day before the Super Bowl drop her “Formation” video – which the internet is still feverishly and giddily unpacking – she performed it at halftime, paid homage to the Black Panthers in the Bay Area on their 50th anniversaryduring the 50th Super Bowl, paid homage to Malcolm X with her squad’s literal formation, and then claimed the commercial space right after halftime to announce her Formation World Tour, which kicks off April 27 in Miami. Phew! No wonder “slay” is ready for a permanent vacation.
According to usatoday.com, the Formation World Tour will be hitting cities nationwide including Los Angeles, New York, Chicago, Boston, and Philadelphia. It ends June 12 in Hershey, Penn., before a string of European dates get underway June 28. Tickets go on sale beginning Tuesday for American Express and Beyhive fan club members, and to the general public starting Feb. 16. [Tour dates listed below.]
But that’s not all new world leader Yoncé’s got going on – along with the tour, the singer also launched a new initiative to aid the water crisis in Flint, Michigan.
“True to her life’s work of always giving back, fans will be given the opportunity to participate in Beyoncé’s #BeyGOOD initiative supporting local United Way programs,” Live Nation released in a statement, announcing that the United Way of Genesee County will partner with the Community Foundation of Greater Flint to “create a fund that will address long-term developmental, education, nutrition and health needs of the children affected by the Flint Water Crisis.”
Beyoncé last toured the USA with her husband, rapper Jay Z, on the six-week On the Run Tour in summer 2014, which was filmed for a HBO special. The Formation World Tour is her first solo jaunt since the Mrs. Carter Show World Tour in 2013.
Public television’s WORLD Channelwill present the complete Emmy-Award winning Eyes on the Prize I and II starting tonight, January 17, 2016. A 30-minute special feature, Eyes on the Prize: Then and Now, will launch the encore presentation of this historic two-part series and explore its impressive relevance today.
Eyes on the Prize, created by Executive Producer Henry Hampton, is a critically-acclaimed and in-depth documentary series on civil rights in America. With the current national spotlight on issues of race and inequality—as well as the marking of the 50th anniversary of the Voting Rights Act, and the 60th anniversary of the Montgomery Bus Boycott—the time is right for this series about the nation’s civil rights history to be front and center as part of an essential dialogue.
America continues to struggle with the recurring crisis of race-related violence; Eyes on the PrizeI and II can provide perspective for a new generation and be a touchstone for citizens who lived through the decades that the films depict. Journalist and writer Al Letson hosts new introductions to each episode.
“We are elated that this landmark series will once again be broadcast across the country, reaching millions of viewers—many of whom may never have seen the original airing. The series focuses on solutions to the conflicts that we face today. Eyes on the Prize shows leadership, grass roots organization and personal sacrifice as the recipe that can create lasting change. It is our hope the television programs together with our comprehensive outreach campaign will spark a national dialogue about this critical topic,” says Judi Hampton, president of Blackside, and sister of the late Henry Hampton (1940-1998).
The WORLD Channel presentation, made possible with support from the Corporation for Public Broadcasting and the Ford Foundation, includes Eyes on the Prize: Then and Now, a new, original 30-minute special, which will lead into the premiere January 17 of Eyes on the Prize, setting the groundbreaking documentary series in the context of today. Narrated by music artist Aloe Blacc, Eyes on the Prize: Then and Now features Eyes on the Prize filmmakers, present-day activists, human rights leaders, and scholars. The special revisits key historical moments and explores commonalities with current national events.
“The WORLD Channel is honored to be presenting this signature series,” says Chris Hastings, Executive Producer of the WORLD Channel. “It’s a history that must be understood. With Eyes on the Prize: Then and Now, we ask questions and draw comparisons about the struggle to achieve equality today. As conflicts and challenges continue, Eyes on the Prize remains essential viewing for all Americans.”
As part of the initiative, WGBH Education is developing a digital resource collection supporting Eyes on the Prize and civil rights themes in history and social studies curricula, to help the civil rights movement come alive for students today. This collection will be available on PBS LearningMedia in January.
Based at WGBH Boston, the national public media producer, WORLD Channel delivers the best of public television’s original documentary films and news to US audiences through local public television stations, including America ReFramed,AfroPop, POV and Local, USA.The special Eyes on the Prize presentation also will be made available to all public television stations for local broadcasts (check listings) after the WORLD premiere.
EYES ON THE PRIZE I and II
Almost three decades since its premiere, the groundbreaking series Eyes on the Prize I and II will return to PBS this January. Eyes on the Prize I will premiere on The WORLD Channel six consecutive Sundays – January 17, 24, 31 and February 7, 14, 21 at 9:00 p.m. (EST). Eyes on the Prize II will air eight consecutive Sundays—February 28, March 6, 13, 20, 27, and April 3, 10, 17 at 9:00 p.m. (EST).
Produced by Blackside, Eyes on the Prize tells the definitive story of the Civil Rights era from the point of view of the ordinary men and women whose extraordinary actions launched a movement that changed the fabric of American life and embodied a struggle whose reverberations continue to be felt today. This multi-part Academy Award nominated documentary is the winner of numerous Emmy Awards, a George Foster Peabody Award, an International Documentary Association Award, and a Television Critics Association Award.
Through contemporary interviews and historical footage, Eyes on the Prize I and II, traces the civil rights movement from the Montgomery bus boycott to the Voting Rights Act; from early acts of individual courage through the flowering of a mass movement and its eventual split into factions. The late Julian Bond, political leader and civil rights activist, narrates. Descriptions of each episode follow below:
Wayne Pharr, former Black Panther who fought the Los Angeles Police in a historic gun battle in 1969, passed away on September 6, 2014 at age 64. After Pharr and his fellow Panthers defended themselves from the long violent attack by the newly formed LAPD SWAT unit, he became a political prisoner who was exonerated of attempted murder and all other serious offenses. Pharr eventually became a successful realtor in Southern California, a subject of the documentary, “41st and Central”, and most recently authored the well received autobiography, Nine Lives of A Black Panther: A Story of Survival.
In the infamous battle on December 8, 1969, a handful of young members of the Southern California Chapter of the Black Panther Party held off the Los Angeles Police Department’s new Special Weapons and Tactics squad and hundreds of other officers in a five hour firefight.
Pharr was 19 years old at the time and played a pivotal role in the battle as one of the first to repel the invasion into the Panther office by shooting the heavily armored SWAT team members with a shotgun as they entered the Black Panther office at Central Avenue and 41st Street. No one was killed or seriously injured in the battle during which thousands of rounds of ammunition were exchanged and bombs used by both sides.
Observed by hundreds of members of the community, the Black Panther Party and their supporters considered the defense of the office and the people inside a victory while the Los Angeles Police Department considered this very first use of SWAT a tactical failure. Pharr and the other Panthers were tried for attempted murder and other charges but were acquitted of all of the most serious offenses after the longest jury trial in Los Angeles history up to that time.
The battle at the Panther Party Central Avenue office was significant for several reasons. The attack came days after another police assault in Chicago left Illinois Panther leaders Fred Hampton shot dead while sleeping in his bed and Mark Clark killed at the front door attempting to fend off the attack. These attacks occurred during a nationwide war against the Black Panther Party by local police agencies in cooperation with the Federal Bureau of Investigation through the FBI’s illegal Counter Intelligence Program, also known as “Cointelpro”. This was also the debut of the paramilitary SWAT team concept which used military style training, weapons and tactics to crush Black resistance during a time of revolutionary fervor and anti-war activity by activists across the country. Historically, this battle can be seen as the birth of the movement to militarize law enforcement that has swept the country.
In the documentary, “41st & Central”, Pharr describes his feelings about the 1969 battle with the LAPD SWAT team:
“So for those five hours, I was in control of my destiny… I was my own power at that particular point and time. And I relished that, and I enjoyed that and I think about that constantly. I was free! I was a free negro… yes sir!”
Recently, Pharr wrote the following reaction to the police response to community protests against the killing of unarmed 17 year old Black youth Michael Brown in Ferguson, Missouri:
“Are we Americans, or are we not? If we are, then the police need to stand down, like they did in 1968 with the SDS, Students for a Democratic Society–an activist group made up of white students. With that group, instead of coming in with guns blazing, they attempted to have a dialogue with the student-activists… If we are not Americans, then we need to go to war. The continuing militarization of police forces is a reminder of my encounter in 1969, the 5-hour battle we had with the newly-formed L.A. SWAT team at 41st and Central. It becomes a matter of principle, our right to self-defense.”
Willow Smith, Jaden Smith, producer Sidra Smith, director Shola Lynch, actors Will Smith, Angela Davis and Jada Pinkett Smith attend the ‘Free Angela & All Political Prisoners’ premiere during the 2012 Toronto International Film Festival at Roy Thomson Hall on September 9, 2012 in Toronto, Canada. (Photo by Alberto E. Rodriguez/Getty Images)
From Ebony.com: Free Angela and All Political Prisoners, a new film by Shola Lynch, in which Angela Davis, 68, speaks openly for the first time in forty years about the tumultuous events of her twenties, debuted at this week’s Toronto International Film Festival. Jada Pinkett Smith and Will Smith, who introduced the doc at the festival, just announced that their Overbrook Entertainment have partnered with Jay-Z’s Roc Nation as executive producers of the documentary about the scholar who came to embody Black power and Black radical feminism.