[Blackstudies-l] ​Race/Related: How a Surprise Discovery of Photographs from the 1960s Meets the Moment

Maria Helena Lima lima at geneseo.edu
Sun Sep 5 10:35:32 EDT 2021


A trove of images were found in a family home. Now they are part of an
exhibit opening in Harlem.
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[image: More Race/Related]
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September 4, 2021
Jeffrey Henson Scales, center, when he was 14 years old, at a Black Panther
Rally to free Huey Newton, a co-founder of the group that was on trial for
the killing of a police officer, in San Francisco in May 1969.Janine Wiedel
A Batch of Lost Negatives

By Pierre-Antoine Louis

Not long after his mother passed away in 2018, a massive relic from Jeffrey
Henson Scales’
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childhood was unexpectedly found in his family’s home. His stepfather and
older brother were preparing the house for an eventual sale when they came
across a trove of 40 rolls of film.

“We think these are probably yours,” they told Mr. Scales, a photographer
and a photo editor at The New York Times.

Included in the rolls were photographs that Mr. Scales had taken when he
was a teenager — images that captured major cultural, political and social
moments of the 1960s. There were pictures of student protests in Berkley,
Calif., photos of Jimi Hendrix, Sly and the Family Stone at the famous
Fillmore Auditorium in San Francisco, and about 15 rolls of the Black
Panther Party.

Mr. Scales was both thrilled and relieved that the photos had not been lost
to time.
Jeffrey Henson ScalesChad Batka

Now, they are part of an exhibition that opens Sept. 16 at the Claire
Oliver Gallery
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in Harlem. The exhibition, “In a Time of Panthers: The Lost Negatives”
showcases
a series of photographs captured by the young Mr. Scales when he was
immersed in the Black Panther movement in Northern California. The images
capture the movement — and its lasting reverberations and impact on today’s
Black Lives Matter movement — and also mark a pivotal time in Mr. Scales’
life, when he realized his own power as an artist and young activist.

I spoke with Mr. Scales about his time with the Black Panther movement, how
his photographs from that period remain relevant today and what he hopes
for those who see his images. Our conversation has been lightly edited and
condensed for clarity.

How did you get immersed in the Black Panther movement in Northern
California?

My father was somewhat of an activist. We had moved from the Haight-Ashbury
neighborhood in San Francisco in 1964 to Berkeley, to this house that had a
ballroom in it, and we had big parties. When Stokely Carmichael passed over
the leadership of the Student Nonviolent Coordinating Committee to H. Rap
Brown, they had the celebration and ceremony at our house. My mother would
take me to the picket lines in San Francisco when I was a young child, when
they were protesting segregated hotels. So we were activists.
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It was 1967 and I was 13 and I had a lot of friends that still lived in
Haight-Ashbury, and that was going to be the Haight-Ashbury Summer of Love.
My parents said, “Well, maybe we’ll send him to stay with his relatives in
the Midwest.” And so I went to Minneapolis to stay with my father’s sister.
And then my grandmother was going to take me around to the different
relatives in places like Des Moines, Chicago, Detroit, and that turned out
to be the “long, hot summer of 1967.”

There were riots in a few of these places in the urban centers and I hadn’t
really seen anything like that. And I think I probably got a little bit
radicalized to some degree and moved by it. And then the Panthers were
starting to pick up in the Bay Area. So I started going and taking pictures
of them and just hanging out. They gave me really incredible access. And
I’m not entirely clear as to why, but they did.

What was it like being around all these moments at such a young age and
capturing them?

Photography was like a hobby and it was something fun to do. My father was
an amateur photographer and we had a darkroom at the house. But in Oakland
and Berkeley, the Panthers were the coolest people in the movement. The
whole presentation with the leather jackets, the berets. They were very
cool. You had the hippies in San Francisco, and then you had the Black
Panthers in Oakland, and it was very powerful and that was at a time in
’68, with the Vietnam War.
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The movement was feeling like, we could change society. We could have an
effect. It was a very exciting place to be. It was dangerous because of
police violence against the Panthers. I remember being in the office where
they had stacked up sandbags under the windows because you never knew when
the police were going to just start opening fire on the office because they
had done that at one of the Oakland offices.

As a teenager that’s all very exciting because you’re not that concerned
with safety like you are as you get older. And I believed in trying to stop
police violence against Black people in the community and the other basic
issues of the civil rights movement. They went from two or three offices in
the Bay Area to 60 across the country. There was a swell of attraction to
this organization.

Walk us through a few of the images that are part of the exhibition.
Huey P. Newton, a co-founder of the Black Panther Party and the group’s
minister of defense, speaking to the media upon his release from prison on
Aug. 5, 1970. His conviction in the shooting death of a police officer was
overturned and the charges were eventually dismissed.Jeffrey Henson Scales

This image was the day Huey Newton got out of jail. They called me and
said, “Oh, he was getting out, we’re going to have a press conference.” And
so I went over there when he was talking to the press. We knew each other
from me visiting him in the Oakland jail during the trial, so this was one
frame where he was actually making eye contact with me directly, which is
why I like that frame.
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Bobby Seale, a co-founder of the Black Panther Party and its chairman,
speaking at a “Free Huey” rally at DeFremery Park in Oakland, Calif., in
1968. Huey P. Newton, also a co-founder of the party, was on trial for the
shooting death of a police officer. He was convicted, but the conviction
was later overturned.Jeffrey Henson Scales

I spent a lot of time photographing Bobby Seale. I remember considering
that one of my first successful photographs that I really captured just
like how I wanted it. When I was 11 or so, my father gave me a Leica
camera. That was like my independent study of photography. I remember
thinking the composition on this worked out really perfect.
Black Panthers holding posters of Mr. Newton outside the Alameda County
courthouse in Oakland, Calif., during Mr. Newton’s murder trial in
September 1968.Jeffrey Henson Scales

I like this image of them all lined up and holding the famous Huey Newton
poster by the photographer Blair Stapp. I like the guy with the ice cream
cone. This is across the street from the Alameda County courthouse in
Oakland. Apparently, my father worked on that poster with Blair and
Eldridge Cleaver. He told me that in the 1990s.

Can you talk a bit about the parallels in these images to the moment that
we’re living in now?

You see the repeated cases of police murdering Black people, and with the
internet, cellphones and the media, we visually see how much brutality is
happening. And then seeing the Black Lives Matter movement pick up, it had
a certain familiarity. It brings back a lot of memories of that time and
personal frustration that we’re still going over this. There’s a bit of
sadness there. But at the same time, seeing a much broader movement is also
inspiring.

Who do you hope the exhibition reaches?

I like that the gallery is in Harlem. I hope it reaches young people that
aren’t familiar with this particular aspect of Black civil rights history.
I hope it pushes people to look into what the Black Panther Party was
actually about. The original Black Panthers were really about building an
allyship with all races and all kinds of people. They were focused on the
Black community, but they weren’t a nationalist organization. That was one
of the conflicts that came with some of the other groups at the time.

They had an ideology and a platform for specific things that they wanted to
do, and community service was a big thing that they did, serving the
community and improving the community.

What did you learn being around the Black Panther Party?

As a young activist, I learned how important it is to have a concrete
mission to help improve the community you’re speaking for. It’s not just
about slogans and protests. It’s also about improving communities and
serving underserved people in those communities, and how important that is.
I’ve just sort of been recently thinking about what I learned and where it
all fits 50 years later.
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[image: Article Image]

Jessica Attie for The New York Times
<https://nl.nytimes.com/f/newsletter/aC1U7EC0wcDRXJ4lzMcSdw~~/AAAAAQA~/RgRjFdbuP0T4aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMS8wOC8zMS9kaW5pbmcvdmVyYWNydXotYWxsLW5hdHVyYWwtYXVzdGluLXJleW5hLW1hcml0emEtdmF6cXVlei5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjEwOTA0Jmluc3RhbmNlX2lkPTM5NjQ3Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9NDI3NDA4OTcmc2VnbWVudF9pZD02ODEyNCZ0ZT0xJnVzZXJfaWQ9MzkzOGYxN2Q4MTgyYTIyZmRlMTQ2N2ZmOWQwYmI1YzVXA255dEIKYTDuUTNh8N2Eh1IQbGltYUBnZW5lc2VvLmVkdVgEAAAAAA~~>
The
Shy Sisters Behind Austin’s Breakout Breakfast Tacos

>From a single food truck to its coming expansion to Los Angeles, Veracruz
All Natural has won a huge following. Yet its owners are still striving to
attract more Hispanic diners.

By Priya Krishna
<https://nl.nytimes.com/f/newsletter/aC1U7EC0wcDRXJ4lzMcSdw~~/AAAAAQA~/RgRjFdbuP0T4aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMS8wOC8zMS9kaW5pbmcvdmVyYWNydXotYWxsLW5hdHVyYWwtYXVzdGluLXJleW5hLW1hcml0emEtdmF6cXVlei5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjEwOTA0Jmluc3RhbmNlX2lkPTM5NjQ3Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9NDI3NDA4OTcmc2VnbWVudF9pZD02ODEyNCZ0ZT0xJnVzZXJfaWQ9MzkzOGYxN2Q4MTgyYTIyZmRlMTQ2N2ZmOWQwYmI1YzVXA255dEIKYTDuUTNh8N2Eh1IQbGltYUBnZW5lc2VvLmVkdVgEAAAAAA~~>
[image: Article Image]

Jaida Grey Eagle for The New York Times
<https://nl.nytimes.com/f/newsletter/4nnfAHl5YD8eHySt_bNwVw~~/AAAAAQA~/RgRjFdbuP0TYaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMS8wOC8zMS9tYWdhemluZS9vamlid2UtYmlnLWRydW0uaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIxMDkwNCZpbnN0YW5jZV9pZD0zOTY0NyZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTQyNzQwODk3JnNlZ21lbnRfaWQ9NjgxMjQmdGU9MSZ1c2VyX2lkPTM5MzhmMTdkODE4MmEyMmZkZTE0NjdmZjlkMGJiNWM1VwNueXRCCmEw7lEzYfDdhIdSEGxpbWFAZ2VuZXNlby5lZHVYBAAAAAA~>
‘A
Sadness I Can’t Carry’: The Story Of The Drum

For Ojibwe, the Big Drum is a gathering to mourn, to process grief, to
understand loss. Could it heal my pain from the past year?

By David Treuer
<https://nl.nytimes.com/f/newsletter/4nnfAHl5YD8eHySt_bNwVw~~/AAAAAQA~/RgRjFdbuP0TYaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMS8wOC8zMS9tYWdhemluZS9vamlid2UtYmlnLWRydW0uaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIxMDkwNCZpbnN0YW5jZV9pZD0zOTY0NyZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTQyNzQwODk3JnNlZ21lbnRfaWQ9NjgxMjQmdGU9MSZ1c2VyX2lkPTM5MzhmMTdkODE4MmEyMmZkZTE0NjdmZjlkMGJiNWM1VwNueXRCCmEw7lEzYfDdhIdSEGxpbWFAZ2VuZXNlby5lZHVYBAAAAAA~>
[image: Article Image]

The Marshall Project
<https://nl.nytimes.com/f/newsletter/MlXe9NuHIvzwQV_L7yeQlQ~~/AAAAAQA~/RgRjFdbuP0ThaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMS8wOC8zMC91cHNob3QvYmxhY2staGVhbHRoLW1vcnRhbGl0eS1nYXAuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIxMDkwNCZpbnN0YW5jZV9pZD0zOTY0NyZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTQyNzQwODk3JnNlZ21lbnRfaWQ9NjgxMjQmdGU9MSZ1c2VyX2lkPTM5MzhmMTdkODE4MmEyMmZkZTE0NjdmZjlkMGJiNWM1VwNueXRCCmEw7lEzYfDdhIdSEGxpbWFAZ2VuZXNlby5lZHVYBAAAAAA~>
The
Black Mortality Gap, and a Document Written in 1910

Some clues on why health care fails Black Americans can be found in the
Flexner Report.

By Anna Flagg
<https://nl.nytimes.com/f/newsletter/MlXe9NuHIvzwQV_L7yeQlQ~~/AAAAAQA~/RgRjFdbuP0ThaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMS8wOC8zMC91cHNob3QvYmxhY2staGVhbHRoLW1vcnRhbGl0eS1nYXAuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIxMDkwNCZpbnN0YW5jZV9pZD0zOTY0NyZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTQyNzQwODk3JnNlZ21lbnRfaWQ9NjgxMjQmdGU9MSZ1c2VyX2lkPTM5MzhmMTdkODE4MmEyMmZkZTE0NjdmZjlkMGJiNWM1VwNueXRCCmEw7lEzYfDdhIdSEGxpbWFAZ2VuZXNlby5lZHVYBAAAAAA~>

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