tv Democracy Now LINKTV May 22, 2013 4:00pm-5:01pm PDT
in the basement of public television 30 years later. actor and activist danny glover coproduced the lack power mix tape, and i had an opportunity powerroduced theblack mix tape, and i had an opportunity to interview him at the sundance film festival. we are making that interview a to you today. i highly encourage you to call in at 866-359-4334 to get a copy of this documentary. danny gloverd by and jocelyn barnes. you will get a sense of it in this conversation. you can also get the full hunter station with danny glover for a contribution of $75. if you want them together, it is $150. without further ado, let's go back to that conversation i had
with danny glover at the sundance film festival when i asked him about the making of " power mix "black tape." >> it is amazing with what we are facing with wikileaks and how information is uncovered. ,his film is about information documentary interviews with people in the black power movement. >> this was found in the basement? >> in the basement of swedish television. it had only been aired once. these incredible interviews. from 1967 until 1965. ease interviews of men and women who were involved in the lack power movements, but also swedish television coming to the
united states and interviewing people about the movement. , a youngn interview sister at the black panthers office in washington. you have all of this prayer footage of bobby seals. that is what this is about. of allhe combination these interviews, all of these thatentary interviews were done. all of this rich archival information about the black power movement. >> let's lay this clip of stokely carmichael. [applause] >> i guess we could start with 1956. this was the beginning of the rise of dr. martin luther king.
that in decided montgomery, alabama, black people had to face the same crisis on the buses, as the white people, but we had to sit in the back. and we could only sit in the back if every available person was taken by a white person. if a white person was standing, a black person could not sit. dr. king and his associates got together and said, this is inhuman. we will boycott the bus system. understand what a boycott is. a boycott is a passive act. it is the most acid lyrical act -- it is the most passive political act a person can commit. we are simply saying, we will not ride your buses. no antagonism. it was not verbally violent. it was peaceful. dr. king's all as nonviolence blackachieve gains for
people in the united states. if youn assertion was are nonviolence, if you suffer, your opponent will feel suffering and be moved to change his heart. that is very good. he only made one salacious assumption. in order for nonviolence to work, your opponent must have a conscience. the united states has nine. [laughter] [applause] >> that was stokely carmichael in this film, "black power mixtape." real rare footage of stokely carmichael. going to sweden -- >> yes. >> and talking about the differences between him and dr. king, talking about the importance of action.
>> yes. it is very interesting. we are talking about 1967. so much has happened since the passage of the voter right act. the riots in watts, in detroit, in new york. here stokely carmichael -- it just so happened that after swedish television spoke to stokely carmichael, i was a student at san francisco state. san francisco state was unique in that members of the group going back to school settled in san francisco. sanely was out at francisco state on a regular basis. to hear him talk -- a really, in 1967, that was the beginning of his own transition, his own movement rum certainly the own movement- his from certainly the nonviolence. the whitemoved
members and all of these things were happening at this particular time. he announced his new path. certainly respectful of king and very respectful of king. because they all work. remember, it was king and harry belafonte who initiated the committee, put up the resources for the nonviolent coordinating committee and not only that, gave it life. here is the prodigal son moment. away at that and certainly, king had been to sweden. king had traveled to scandinavian entries to raise money for the movement, which is something that harry prompted him to do. >> and you know, of course, dr. king had won the nobel peace prize in 1964. but the footage in "black power of dr. king, the king
of sweden raising money for him and harry belafonte in sweden together. suggestionarry's they go to sweden and raise money. harry, when he first met king in 1956, 1957, harry was one of the most popular artist's in the world at that time. he was using his influence in the service of dr. king. so, there were very strong solution -- connections with sweden and other scandinavian countries as well. you here, this is an incredible moment. that is something that people do not know about often, you know? >> and you, at san francisco state, the first big shutdown of the university was your own and you were one of the leaders all that. .> san francisco state, 1968
we were all moving in some sort of way. the big issue when i came to san francisco state in 1966, it was beginning to make its own transition, you know? and why this film was important for me was it is also my moments, my transition as well. i had been raised, born and raised to the civil rights movement. now that the black power movement emerged, we were beginning to -- in fact, we out to mary barack that san francisco state in 1967. black artshe movement as well. we had the black power movement stokely andfied by the black panther party, at rhetoric, and you had to do in and involved as well.
myself and others. the strike came out of that. the strike was an aggressive move by the black student union, and we were fortunate to have allies in terms of the asian student association and the hispanic student association. and also progressive students. they made it successful. >> you were fighting for black study in 2008. newslly, in tucson, the of that horrible shooting. they were shutting down the same day. but you guys really darted the efforts -- really started the efforts? >> it was the first program and a major university in the country. the first time that i saw uep newton andey p. had any idea of the power of the black panther party in 1966, when he came to the black house
and read poetry at the black house. at the black house, eldridge cleaver lived at the black house. there were two people that lived out the black house. you could see -- and now we are looking back, but you could see this emerging movement happening around, really, what i believe of,xtraordinary moments as i said before, redefining .nd reimagining democracy using those skills. stokely was an organizer. .is skills were organizing the black power movement was about extending that sense of organizing, community organizing. >> so, danny glover was president obama, a community organizer on the south side of
chicago, but he has taken a very different path. differentmake choices. i came out of community development as well. i worked for the model citizen program. was in evaluations specialist and program manager from 1972 until 1978. through 1977 rather. -- and this was a very key moment. as i think about it right now, it is also along the same lines. it paralyze -- it parallels what happened in the film. there was an extraordinary level of grassroots democracy happening in communities like the mission district in san francisco.
it was extraordinary. it was fueled, of course, by the sense of organizing that came out of the civil rights movement and also translated into the black power movement. thatsense of empowerment people could be the architect for change. this was happening so, whenthe country. you look at black power -- when you look at "black power ability" you have the to reflect on a moment and recognize there are core values of that moment. yeah, it was james brown who came out at the same time and said "i'm black and i'm proud to go -- i'm black and i'm proud." certainly, for the sweets to be able to capture this and -- for to be able to
capture this and look from the outside in. they asked very innocent questions. that question/response by angela to pilots was extraordinary. >> let's go to that clip. >> orientation, violent? >> was that the question you are asking? you asked me whether i approve of violence. that does not make any edits -- that does not make any sense at all. whether i approve of guns. some very, very good friends of mine were killed by bombs, bombs planted by race this. -- by racist. from the time i was very small i remember the sound of a bomb next loading across these trees.
i remember the fear at any moment we might expect to be attacked. the man who was at that time in complete control of the city government, his name was will connor, would often get on the radio and make statements like have moved into a white neighborhood and we better expect lunch at tonight -- bloodshed tonight." one of those girls live next door to me. i was very good friends with the sister of another one. my sister was very good friends with all ready. my mother -- in fact when the bombing occurred, one of the young girls called my mother and said, can you take me down to the church to pick up cara? we heard about the bombing.
we went down, and what did we find? strewn allads over the place. after that all the men in my neighborhood organize themselves into an armed patrol. they had to the troll our neighborhood every night because they did not want to happen that again -- they did not want that to happen again. when someone asks me about pilots, what it means is the person asking that question has absolutely no idea what black people have gone through, what black people have asked aryans in this -- what black people in this country have gone through, what lack people in this country have faced. 40 yearss angela davis ago and a tape that was found in the basement of swedish television, just made into a remarkable film called "black
power mixtape." her face with the aim is afro is the poster for "black power mixtape." talk about this point she has raised about how do you raise the issue of violence? >> let's go a step back and think about all these youngsters. , all ofs, diane nash echoing through extreme periods of violence in the south. the burning and bombing of buses in the freedom riots. even if it was an organized. being beaten in jail. it was not uncommon. the murder of civil rights workers. extraordinary terrorism and violence and to be able to now with that as young people assume another kind
of position and understand violence in a different kind of way. in reflect on that violence a different way. >> it was terrorism. >> it was terrorism. i talked to bob moses and he said, you talk about terrorism, i asked aryans to that. in the south. and he said, you talk about terrorism, i experienced that. in the south. the point is, those girls who died in that church were friends of hers. sisters. her mother was a teacher. >> it is amazing to think -- angela davis, yes, friends of the girls in the birmingham church. condoleezza rice, luis mcnair, she was friends of the same girls. they came from that same
environment. >> condi rice came from these name environment. one of the great civil rights lawyers in the country, too, you know? ,hink about that violence now that relationship with what has happened in tucson. even though we know that young man is deranged in some way, what drove him to that act, the nasty, just villainous violence that is happening. violence even during town hall meetings during the healthcare crisis. the healthcare debate and everything. all of this kind of violence. and then you think, the war, the war is key. talking about that violence, that violence comes home. at this time, and the
videotapes we are seeing in this remarkable film, really bringing them back to life and having all reflect on them, you were an organizer. how did you end up in, well, taking the life journey you did, where you ended up today and sundance? it did not start with sundance. it was "lethal weapon." >> i will say this. i remember my first film, my first major role, "places in the heart." i was in chicago. living in aut commune in 1968. it was a political commune. and most all of us were and most all -- of us were students. we were editors. asedited the party papers well. when i mention that, the first inning that reporters say is i
was a member of the black panther party. with all due respect to every black member of the panther party, and i had friends in the party that were entrapped in some of the stuff, friends of mine whose bodies were dismembered -- those were people i knew. with all due respect, i was not in the black panther party. i was a student. there was still some sort of space created for students, that the violence that existed, the violence we were often associated with in the community, did not often happen to find its way to the campus. the strike at san francisco state did have the tactical squad out there on a daily basis. but the same kind of violence, the same kind of surveillance, the same kind of, you know, villainy did not happen on the campus. first of all, i was a student. i was able to move from that,
being a student, and after finishing, work or the office of community development, working amongst these programs in san francisco. in a sense, i was still engaged in the ideas about community organizing. of coming to acting as a result of my politicization, when i discovered the work -- >> tell us who that is. click the great south african playwright who wrote so brilliantly. -- >> the great south african playwright who wrote so brilliantly. he wrote so brilliantly about the anti-apartheid movement, particularly the relationships, the possibility is there. not." "the island." both plays i was involved in. to be able to use that for
myself as a platform to not only learn the craft of acting, but also in some sense say whose side am i on in the world? no one knows what happens when you choose that. it is the only reason i'm an actor. because of the playwright. if it had not been for him and finding his work, i do not see where i would have negotiated or navigated my way to that. you have to have a sense of where you want to be and what you want to do. the industry has its own established goals and process and everything. you have to decide, these are the kinds of stories i want to tell. >> what influence did paul robeson have on you? >> paul, even though i never met him, i mean, he is my hero. at thelearned so much
feet of harry belafonte because of paul robeson and their relationship. paul robeson is one of the extraordinary men of our time, the 20th century. in reading,ne who reading his work, inspired me. and also, it created for me the kind of lace, space i wanted to be. >> and you found -- >> i was able to name the company 30 years ago after paul robeson. those are the things, those notions -- it is no importance -- it is no accident. also being able to do an african film, being able to touch things around the world. i remember when i was 18, 17
years old walking into a theater and he never meant to him. seeing there were other opportunities. to me, the attractive thing about film is there were other possibilities there. robert benton saw me and figured there we mose and go. >> and then you go on to the series with sally field in "brothers and sisters," but before that "the color purple." compare the power of independent film and hollywood blockbusters like "lethal weapon." how many were there? >> four. rex is there going to be of five? >> there is not. like it and you always say there would not be a number two,
and then there was a number for? .> i don't think so >> it gives you tremendous power because of the recognition around the world. whatever someone thinks about the films, it affords you a kind of authority and reaching across a political spectrum of people. anger" happened because sony pictures knew there was going to be "lethal weapon 2." what that was. >> i guess, for me, it is one of my films i cherish the most, and probably one of the greatest films in american film. about a family in la and the relationship between its spirituality, it's past. film.an independent
it falls outside the genre of african-american films. it deals with aspects of our past, who we are, how we respond, how our family is built. all these things happen ."thin "asleep to anger but also, a part of memory. a part of that i kick memory. -- a part of that psychic memory. that part that will protect you, allow you to get through all the pain that you experience, you know? remember, this is a family in los angeles that has migrated from the south. tobe.ndparents had a dangerd a sense of the in the world.
you have to be asleep to the past while going on in the future as well. there were a lot of those elements. well, thed" as relationship of the past to the future. , ahere we are at sundance celebration of independent films. talk about the importance of independent films. theor me, after all of books and everything, for me, this is a great moment of my career, to be able to support independent film, independent thinking. for me, if you take the whole genre of independent film -- i use the word genre -- if you take independent dome and they invariably have some influence on the industry anyway. independent film is where the real work that actors get a chance to do. this is why sundance is so
brilliant. documentarian films. documentaries and everything. it is so brilliant with this work of art that, supporting the idea of documentaries. when it does that, documentaries are our place and our way of establishing our relationship to what is happening to us, you know? isit's the only way there some sort of context in which we can look at what is happening to us. we can discuss it, have opinions about it, have a discourse about it, and perhaps -- whether it is documents about climate, documents about healthcare, whatever they are, perhaps it is a chance of understanding what the core issues are. >> certainly, this is a film you coproduced. 30 or 40t movements years ago. another of the big films here
is about harry belafonte. he is raising the wetjen. he said he feels like he has failed. -- he is raising this question. he looks back to see if there is a new generation of activists following what had been accomplished over the decades as he walked with king, and his activism outside his artistry and his music. how do you feel about that? >> we have a 20 year span. there is so much work that still has to be done. i have no sense of failure. i'm an internal optimist as well, you know. as all robeson said "each duration makes his own history -- each generation makes his own history." i think this generation is going to make their own history. they have to respond to the
crisis, whether it is the climate crisis among the financial rises am a the crisis of poverty in the world, the crisis of inequity in the world. they are going to have to deal with that, you know? and they are going to have to listen outside the framework and the constructs and really continue their lives as they have structured their lives. they are going to have to do that. and understand we could be here, forcing the issue, talking about that, and talking about that's the question is, if we are going to talk about democracy, what is democracy? whose democracy does it belong to? that is the fundamental question here. we have a chance, you know? the powers that be will find every way to undermine it, to subvert it, to stop our voices, cut off our resources. the question is we have to
believe we can do this. >> before we end, i want to talk about one of the great crises today and that is haiti. a country very post to your hearts. you have been making a movie a veryabout haiti for long time. you've visited president aristide in south africa. he was or stout. we have seen that have brenda's effects of the earth wake. now this cholera outbreak. -- we have seen tremendous effects of the earthquake. and now the dictator that followed his father -- i do not know how many deaths. what are your thoughts? --certainly, it is painful. refer to myself
as haitian at heart. it is unacceptable. that president aristide is not there with his people. it is unacceptable that the state department can say to us is nohere is no, there history, there is no future for president aristide. >> is a strategic? the state department person sends out a twitter message that aristide is the past and we have to look to the future in haiti. you were talking about whose democracy. this country has been under siege for more than 200 years. from the moment of their independence, they have been under siege. let's not lie about this. way, every
administration from that time on from jefferson and madison clinton and bush, all of them, every single one of them has done something to undermine haiti eligibility to and on its own feet. so resilient.re they are incredible. they are organizing now. they are there organizing. in the midst of chaos, cholera, of earthquake, the lack functioning government. they are organizing. , everyingle president single administration has been responsible for that. everyone of them. and and yet, we do not know that. we do not have that information right now. but right now, you are going to know me that he is the past, that he has no future in haiti is unacceptable. it is unexpected will -- it is unacceptable the dictator has returned to haiti. we have to say it is unacceptable.
with that we have to say it is unacceptable, the consequences of these florida elections as the united states rushers everyone to accept tsese. it is unacceptable. they are standing up for themselves. when they knock down the fences and refuse to be denied the right to vote during an election, they made a statement. they want their country back. they want their sovereignty back. they want their independence back. that is the issue that people want. that is coming from my haitian hearts. >> what do you think that the u.s. finds -- why will the u.s. not allow aristide to return? why was the u.s. involved in the coup from 1993 to 1994?
other coup. >> he ended up in exile and africa, continually saying he wants to return. what is that the u.s. has against this democratically elected leader of haiti? >> i do not what respect the united dates as for democracy anyway and people's rights for self-determination anyway. i do not know really if they have that. it is art of an ideal. but it was part of an ideal -- you know, the bill of rights came out not from the fathers of the republic. it came from people demanding something more. at every small point in time, they must undermine the possibilities of democracy in haiti, and aristide represents that. you can say what you want about eris the. the fact is, he was elected.
in every way, haiti represents .omething for the hemisphere haiti becomes a true democracy, a functioning democracy, it represents something beyond that. every single entry and that hemisphere counts its independence and its own sense of sovereignty and nationhood to haiti. >> i know you have to leave. you just have to minute. the power of film is the power of storytelling. >> yes. >> you have been focused on haiti. as we wrap up, i was wondering if you could tell us that story and why it has grab you for so many years as these rate you want to ask on to future generations. >> it is my story. it is the story that we owe so much to haiti. revolutionaryn
said we owe so much to haiti. we owe so much to haiti, first of all. it is the only story of its kind ever in the history of humans, written human history. slaves voted and challenged empire. of the newet translation, the new construct of capitalism and liberal democracy, here is this country, this small country, these people who at that point stand up and say, it applies to us. >> you have been listening to and watching danny glover talking about a remarkable film that has won many awards that he coproduced with joslyn barnes called "black power mixtape." danny glover talking about the rare archival footage that went into the making of this film. we urge you to go to the phone right now and let us know that
you are there, that you are as ending up or independent media. the film "black power mixtape" comes from the basement of swedish public television, believe it or not. at the end of the six the's, that at the end of the 1960s, 1970s, european interest peaked in the civil rights movement. swedish filmmakers traveled to explore the black power movement in the united states, often for trade in the media as a violent nation movement. opposition, the swedish film makers did not cease their investigation. they made this film. was a speciale about 30 years ago. the current leadership will make bjorn filmmaker named
the footage in the basement of swedish television. the scores of hours that went into making this documentary. they said, wait a minute to rid this is relevant to today. they completed this much larger film. danny glover coproduced. they interviewed people back when in the 19 these and 1970s. -- 1960's and 1970's. p. newton,from huey angela davis, but they went to modern-day musicians and artists. they went back to angela davis and cap link lever, bobby seale. this remarkable film. we are making it available or the contribution of $100. "black power mixtape," the
award-winning film. this was my conversation you just watched with danny glover in 2011 in park city, utah. $75 attribution if you would like to get the dvd of that interview. if you pledge 150 dollars, you get both the interview and "black power mixtape." we urge you to call 866-359- 4334 and become a member of link tv. i will tell you this. we cannot do this without you. we need your support. there is a reason you to know and with democracy now!. if you enjoy hearing about the occupy movement and infiltration off and the fusion centers and the authorities working with private corporations and banks and organizations like the american legislative exchange council that works with corporate heads and the legislation
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empowerment, a moving and inspirational vehicle that takes audience is on a journey from .967 and the issues of the day the vietnam war, extreme poverty, lack of government accountability, pervasiveness of structural racism. at the same time, organically provoking the questions about where americans find themselves today. please call in. we do not have much time. we ask you to call. 866-359-4334. " is theower mixtape name of the film. it is coproduced by danny glover. we ask you to call in right now. withilm not only dealing the politics of the time. it takes you on a journey into the questions of identity critical to the power of empowerment. who are the people featured in this film? stokely carmichael, eldridge newton, harry
belafonte, erika baidu, angela davis, and much more. we urge you to call. i want to play for you the trailer of "black power mixtape ." we are going to get that together. we're going to see if we can find that. in order to do that, we need to hear from you. we need to know that new jersey and maine and new hampshire and massachusetts are in the house. please call. bill the phone lines. we cannot do this without you. we will send you "black power mixtape" for $100. , theu want to pledge $75 interview. please call and right now. these let us know you are there areas please let us know that democracy now! matters in your life. please call. that number again is 866-359- 4334. 866-359-4334.
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