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Speaker 1: Hey guys, welcome to Greatest Escapes, a show bringing you

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Speaker 1: the wildest.

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Speaker 2: True escape stories of all time.

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Speaker 1: On this episode, we're going to head back to the

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Speaker 1: nineteen seventies for the daring daylight jailbreak of a true

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Speaker 1: American revolutionary. I'm Mortcastro, and for this journey, I'm joined

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Speaker 1: by the incredible talent, actor, writer, producer, and DJ Diallo Riddle.

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Speaker 2: Dallo Riddle. Am I saying your name completely right?

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Speaker 3: Or completely You said.

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Speaker 4: It completely right, Diallow Riddle. You know people sometimes mistake

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Speaker 4: di'allo for Diablo. My mother in law said that my

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Speaker 4: to b wife could not date me because but.

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Speaker 1: My mom did warm me about having the Diablo on

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Speaker 1: Like I have questions.

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Speaker 3: Diablo was surprisingly available.

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Speaker 2: You know you're thinking, but right now the world's kind

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Speaker 2: of fucked, so.

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Speaker 3: It seems really busy. He seems really busy.

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Speaker 2: May I ask the origin of your name?

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Speaker 4: So my name is d'allo nob uh two ills. Actually

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Speaker 4: it's from West Africa. Diallo amir Riddle. It stands for

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Speaker 4: bold prince riddle in a West African language known as

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Speaker 4: Fulani Fulanilani.

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Speaker 3: So I'm from Atlanta, Georgia.

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Speaker 4: You know, my parents just wanted to give me a

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Speaker 4: name from Africa because you know, black Pride, and that

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Speaker 4: is how you end up with a bold Prince Riddle

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Speaker 4: aka Diallo Amir Riddle.

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Speaker 2: Oh fantastic.

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Speaker 1: You know, at the beginning of my career, I did

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Speaker 1: a few Nigerian films and they call them Nollywood. So

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Speaker 1: anything from West Africa films they call it Nollywood. And

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Speaker 1: it was amazing because you know, obviously, like we'd go

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Speaker 1: off to shoot in Lowell, Massachusetts and they'd be like,

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Speaker 1: come make we go a white boy, and.

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Speaker 2: I'm like, I'm not white. It looks like me, No,

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Speaker 2: you want a white boy.

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Speaker 4: You know what's funny is on one of our shows,

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Speaker 4: Sherman Showcase, we uh, you know, we just shot a

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Speaker 4: proof of concept, which you know is a fancy industry

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Speaker 4: term for essentially we shot like the best five or

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Speaker 4: ten minutes of a script and showed it to the

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Speaker 4: network and we got picked up the series.

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Speaker 3: But in that relations oh thank you.

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Speaker 4: In that proof of concept, we had a essentially what

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Speaker 4: was a Nollywood movie trailer. And in that trailer, because

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Speaker 4: we have we have we have a couple of Nigerian

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Speaker 4: writers on our staff, and we thought it was so

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Speaker 4: funny that they were. Like, if you watch enough of

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Speaker 4: these Nigerian Nollywood movies, a lot of times the twist

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Speaker 4: is that somebody is a witch in some way.

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Speaker 3: Every trailer it was she a witch.

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Speaker 1: Yeah, and it's usually the preacher who's also kind of

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Speaker 1: a love interest, Like who reveals this story?

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Speaker 2: Tell me about your greatest escape.

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Speaker 1: It doesn't even have to be life threatening, it just

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Speaker 1: has to be one of those like whoa I got

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Speaker 1: away with that.

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Speaker 3: Very few people know this story.

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Speaker 4: But actually, when I was about seventeen, I'm filling out

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Speaker 4: college applications and so I went to the store. Because

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Speaker 4: you couldn't email the men back then, you had to

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Speaker 4: like print them out on paper and send them in.

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Speaker 4: So I go to the local drug store to pick

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Speaker 4: up some paper.

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Speaker 3: I'm literally buying.

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Speaker 4: Paper to go to college and build a better life.

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Speaker 4: When a guy came in and held up the convenience

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Speaker 4: store and I remember he said, everybody on the floor,

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Speaker 4: and I remember how like I had never seen a

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Speaker 4: handgun wielded, you know, in person before, and I just

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Speaker 4: remember thinking, that is a gigantic gun. And so we

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Speaker 4: all got down on our stomachs and I'm like, you know,

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Speaker 4: praying and like, you know, just thinking like, oh, if

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Speaker 4: I can just get out of here and mail off

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Speaker 4: my college application, I will never come back to this

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Speaker 4: Ecker drugs man. So this is a great escape of

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Speaker 4: someone else that actually saved my life potentially, because you know,

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Speaker 4: everybody in this store, there weren't many of us at

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Speaker 4: the time.

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Speaker 3: I thought, like, you know, he might be like no witnesses,

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Speaker 3: you know, and what a thought.

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Speaker 4: And then somebody ran out the back like it was

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Speaker 4: probably an employee, and just something about that emergency door

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Speaker 4: jamming open, like the guy just grabbed a bunch of

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Speaker 4: money out of the register and then ran back out

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Speaker 4: the front. And then I got up and I picked

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Speaker 4: up my paper, and I'm pretty sure I just walked

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Speaker 4: down with my paper. I think I was like, they're

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Speaker 4: going to have a lot of paperwork to fill out,

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Speaker 4: and I don't know that I want to.

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Speaker 3: Hang out here.

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Speaker 2: I'm not here for it.

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Speaker 4: I'm not trying to be like, you know, I can't

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Speaker 4: identify the guy. All I saw was a black glove

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Speaker 4: on a gun. I'm out of here.

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Speaker 1: Have you ever wanted to get to Cuba? Have you

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Speaker 1: ever been to Cuba?

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Speaker 3: Or I did? I really wanted to get to Cube.

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Speaker 4: I mean, like, oh, man, you know, Cuba is such

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Speaker 4: a obviously it's such a complicated social political topic. But

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Speaker 4: I've always wanted, in my heart of hearts there to

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Speaker 4: be like a very simple way to just fly out

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Speaker 4: of Lax you know, into Cuba and just you know,

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Speaker 4: go and visit and go around and see the country.

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Speaker 4: So it's one of those places I've really wanted to go.

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Speaker 4: I feel like every time I get a chance to

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Speaker 4: go something something comes up.

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Speaker 1: Now, Cuba is important in today's story for two reasons. Now,

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Speaker 1: first the revolution in nineteen fifty nine that inspired a

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Speaker 1: ton of people in the next couple of decades, and second,

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Speaker 1: Cuba dozen extradye people today United States, which takes us

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Speaker 1: back to the end of the nineteen seventies and one

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Speaker 1: of the most significant prison escapes in American history.

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Speaker 2: It was November two, nineteen seventy nine.

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Speaker 1: Three men walked into the Correctional Facility for women in Clinton,

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Speaker 1: New Jersey, sometime between one and four pm. Each of

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Speaker 1: the visitors showed their ID and they gave their names

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Speaker 1: and addresses and were entered into the prison visitor log,

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Speaker 1: but none of the information they gave was so you see,

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Speaker 1: this wasn't any old visit. These men were complete revolutionaries,

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Speaker 1: and they arrived to pull off one of the most

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Speaker 1: staring jail breaks of the century in complete daylight. Afterwards,

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Speaker 1: the only true thing the guards knew about him is

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Speaker 1: that they looked seventies as hell. I'm talking afros, full beards, sideburns,

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Speaker 1: a guy with a base behind him, going.

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Speaker 2: Okay, that last part isn't true, but what that be awesome?

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Speaker 1: So if you were gonna help with the jail break,

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Speaker 1: how would you disguise yourself?

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Speaker 2: Like, what would you be wearing for this?

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Speaker 3: Oh man? Probably all black?

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Speaker 4: Right, you gotta go like full you know what panthers slash,

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Speaker 4: you know, calm cruise when he's like rappling in from

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Speaker 4: the ceiling. That's that's what it is.

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Speaker 2: I would wear.

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Speaker 1: I would like wear like really thick eyebrows, because that's

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Speaker 1: the one thing that people would describe me as.

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Speaker 2: They're like and then I just rip them off and

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Speaker 2: you have these ones.

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Speaker 3: I couldn't have been here. I'm looking out. Then those

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Speaker 3: zyebras are.

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Speaker 1: The first man alone. He was checked through the registration

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Speaker 1: building in the minimum security area of the prison. Then

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Speaker 1: he climbed into a van that drove him across the

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Speaker 1: prison grounds to the South Hall. Now this was the

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Speaker 1: prison's maximum security area. But and this is key, okay,

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Speaker 1: he was not searched.

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Speaker 3: He wasn't.

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Speaker 1: No. Instead, he was let through the extra fencing around

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Speaker 1: the South Hall, and then the guards led him down

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Speaker 1: to the glass booth, where he sat down to visit

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Speaker 1: with an inmate.

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Speaker 3: Now you got I got it.

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Speaker 4: Put seventies nineteen seventies security teams like I just feel

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Speaker 4: like yeah.

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Speaker 2: They were just like, yeah, I don't care, you can

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Speaker 2: go through. Who are you here to see? Yeah, okay, sure,

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Speaker 2: go ahead.

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Speaker 3: Man.

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Speaker 4: It reminds me of that Simpsons episode where like mister

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Speaker 4: Burns has to go through like eight levels of security

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Speaker 4: to get down to the nuclear reactor, but then a

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Speaker 4: cat wanders in through a broken.

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Speaker 1: So the next two men arrived soon after, and they

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Speaker 1: did the same thing. They passed through registration without being searched, okay,

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Speaker 1: and were shuttled into the prison van in the South Hall.

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Speaker 2: Literally, nobody gave a fuck.

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Speaker 3: Yeah, I mean it's the seventies.

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Speaker 4: Everybody was packing and nobody was checking.

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Speaker 1: When they came to the fence around the South Hall,

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Speaker 1: and it was open for them. They sprang into their

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Speaker 1: escape plan. They pulled out guns on the van driver

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Speaker 1: while the gate hung open. Now inside the visiting booth,

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Speaker 1: the first man turned to the prison guard who was

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Speaker 1: watching the visit, and he whipped out two pistols out

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Speaker 1: from under his jacket.

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Speaker 4: That one and like you know, shoved into his crotch

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Speaker 4: or like literally two guns.

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Speaker 3: He was our own style.

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Speaker 1: Something must have given it away when he had like

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Speaker 1: a bullet belt around him. So holding the garden there

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Speaker 1: at gunpoint, he forced her to open the booth up

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Speaker 1: from behind the glass walked activists, black panther and soldier

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Speaker 1: of the Black Liberation Army a Sata shaquor.

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Speaker 3: That's right, yep yep Asadakor.

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Speaker 1: Suddenly free from herself, Asada and her visitor took the

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Speaker 1: guard hostage and they marched outside. They climbed into the

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Speaker 1: van with the other two men, and now the four

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Speaker 1: revolutionary and their two hostages were able to drive the

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Speaker 1: prison van right out of the main prison gate. They

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Speaker 1: reached a nearby parking lot where their getaway cars were

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Speaker 1: part waiting.

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Speaker 2: So Asauna and her rescuers left from.

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Speaker 1: The van and into the cards and just fucking peeled away.

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Speaker 1: The prison guards were left handcuffed in the prison van,

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Speaker 1: but unharmed. Now everybody started flipping the fuck out. Roadblocks

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Speaker 1: were rushed out onto the highway to stop the escaping vehicles,

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Speaker 1: but conflicting reports flew in right. Some said they were

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Speaker 1: in a blue Pondiac and a blue Cadillac, and no, no, no,

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Speaker 1: they were in a Ford Maverick and a two toll Lincoln.

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Speaker 1: No no, no, they had massive eyebrows. Everybody had massive hours,

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Speaker 1: no confusing all the way. So the contradictory reports may

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Speaker 1: have been the saving grace of the escapees. Before officials

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Speaker 1: could decide which roads could be shut down and where

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Speaker 1: to hunt, Asauna and her allies were out of there.

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Speaker 2: Asada Shakur was free.

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Speaker 3: It's insane, yellow.

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Speaker 1: What do you know about Asada Shagar's life and why

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Speaker 1: she was in prison?

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Speaker 4: I mean, admittedly, you know, my my father was a

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Speaker 4: painter in South Central now called South LA during the

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Speaker 4: time of the Watts riots, and so you know, he

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Speaker 4: used to, you know, do paintings and sculptures about you know,

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Speaker 4: the ghettos in the in the hood back then.

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Speaker 3: You know.

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Speaker 4: And I always felt like even though he wasn't like

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Speaker 4: a black panther. Growing up in our household, we definitely

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Speaker 4: understood the point of view that like our community needed

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Speaker 4: you know, uplift and it needed, you know, certain things

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Speaker 4: to reach its full potential.

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Speaker 3: So the idea of like Asada Shakur.

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Speaker 4: And Mumia abou Jamal, like these were not random names

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Speaker 4: to us, Like these were people who we knew.

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Speaker 3: In our household.

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Speaker 4: And and honestly, when Tupac Shakur first blew up, I

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Speaker 4: was like, is that Asada son? And of course you

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Speaker 4: know Asada Shakur was the godmother.

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Speaker 2: Of that's rights.

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Speaker 4: Yeah, and I think his mom, Afienie Shakur was a

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Speaker 4: was a good friend of Asadas.

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Speaker 2: That's right.

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Speaker 1: And you know this is a little off topic, but

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Speaker 1: let me ask you something because you bring up something

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Speaker 1: interesting about I didn't know that about your father. Do

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Speaker 1: you think that you got from him the desire to

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Speaker 1: express yourself and surroundings and sort of your point of

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Speaker 1: view through art, be it to a through a writer,

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Speaker 1: acting perspective.

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Speaker 4: But no, you listen, you ask something that not many

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Speaker 4: people have ever asked, but it's got a very very

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Speaker 4: clear and strong answer, which is that absolutely one hundred percent.

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Speaker 4: You know, my father started off at La City College

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Speaker 4: doing still life, like he would paint pears, you know,

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Speaker 4: in bowls and you know, light coming through a window

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Speaker 4: on a villa.

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Speaker 3: But you know, at the end of the day.

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Speaker 4: Once the Watts Rice broke out, he was like, I

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Speaker 4: can't do pears and bowls and still life anymore. I

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Speaker 4: have to do art that means something. And he's sort

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Speaker 4: of instilled, you know, in us. Even before I knew

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Speaker 4: that I wanted to be an artist in my own way,

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Speaker 4: even though before I knew I wanted to be creative

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Speaker 4: with my profession, he always said that he felt like

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Speaker 4: art without any social commentary had no interest to him.

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Speaker 3: You know.

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Speaker 4: He felt like everything that he did had to have

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Speaker 4: some not message. He wasn't trying to be polemic, but

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Speaker 4: it was just that he had a point of views. Yeah,

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Speaker 4: it had to have a point of view. It had

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Speaker 4: to have a very strong point of view. And I

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Speaker 4: think that in my work to this day, everything from

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Speaker 4: Sherman Showcase The South Side to some of the shows

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Speaker 4: that we're working on now, I always think, what will

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Speaker 4: this contribute to the world. It doesn't have to be

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Speaker 4: anything like, oh, it's gonna get people to wake up

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Speaker 4: about climate change. It's not like that. It's just more like,

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Speaker 4: how will this make lives? You know, people's lives better.

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Speaker 4: Even if it's just to say it's going to be

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Speaker 4: so funny that it's going to give people who have

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Speaker 4: had a hard week, it's going to bring them a

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Speaker 4: little bit of joy. That is enough. There has to

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Speaker 4: be something in there like that for me to be interested.

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Speaker 1: What a fascinating thing to be able to witness that.

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Speaker 1: If you see your dad's paintings from before the riots

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Speaker 1: and after the riots, and you know how you just climb.

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Speaker 2: And then suddenly so we're just watching it.

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Speaker 1: I love the moment where you watch an artist find

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Speaker 1: find their voice, you know, and visually being able to

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Speaker 1: witness it must be really fascinating and impactful as a

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Speaker 1: young man.

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Speaker 4: Yeah, John Thomas Riddle, he's you know, his artwork is

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Speaker 4: up at the California African American Art Museum and the

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Speaker 4: Hammer Museum in Los Angeles.

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Speaker 3: So it's it's you know, he had a great career.

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Speaker 4: Sadly, as many people who work in that field know,

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Speaker 4: the second that he died, his art skyrocket in value.

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Speaker 3: Because there's not going to be anymore. That's the way I

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Speaker 3: think about that.

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Speaker 1: We'll put up a link at the bottom of this episode,

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Speaker 1: so people going to check out you dad's art. Man.

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Speaker 2: I think that'd be really cool.

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Speaker 1: Okay, so we've heard about ASADA's legendary prison escape, but

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Speaker 1: now we're going to jump back and hear the story

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Speaker 1: of the real person behind the legend. So, dell, well,

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Speaker 1: you know a lot of this already, but for the listener,

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Speaker 1: we're going to go way way back.

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Speaker 2: Okay. Asada was born in Queens, probably in the year

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Speaker 2: nineteen forty seven, though the exact date is kind of lost.

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Speaker 3: Oh wow.

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Speaker 2: Yeah.

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Speaker 1: So she was born with the name Joanne and her

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Speaker 1: family called her Joey. It was only later that you

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Speaker 1: would leave it behind and become a Soda. Grew up

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Speaker 1: with her mother and her on, and when she was three,

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Speaker 1: her grandparents bought a beach property in Wilmington, North Carolina.

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Speaker 1: So they moved south and they took a Soda with him. Now,

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Speaker 1: and this is a really beautiful solo memory, I think.

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Speaker 1: Asana says that while in Wilmington, the women in her

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Speaker 1: grandmother's generation became her role models.

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Speaker 2: They would some rivers and.

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Speaker 1: Shoot the head off a snake and plant a garden,

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Speaker 1: saw a pattern, kill a hog, and also quite a

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Speaker 1: little fussing baby, all at the same time. Do you

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Speaker 1: have any older women in your life that you consider

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Speaker 1: bound asses like that?

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Speaker 3: Oh?

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Speaker 4: Yeah, I mean it's interesting. I have an aunt Joanne

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Speaker 4: a relation to a soada. Oh shoot, now it comes out,

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Speaker 4: that's what we got.

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Speaker 2: To come storming my booth. I'm like, I don't, what

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Speaker 2: do you want with me?

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Speaker 4: They're so I mean, like every I feel like all

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Speaker 4: the women in my family are badass in their own way.

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Speaker 3: But you know what's really.

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Speaker 4: Interesting about what you say about them moving from New York.

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Speaker 4: I think you said Queen's to North Carolina. I grew

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Speaker 4: up in Atlanta. And the thing about Atlanta is, I

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Speaker 4: think we have more trees, you know, per square inch

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Speaker 4: than any major city in the country.

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Speaker 3: Right.

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Speaker 4: We have these woods, and we have these really wild

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Speaker 4: areas that are right in the heart of Atlanta.

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Speaker 3: And as a result, you know, me.

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Speaker 4: And my friends right there in the city limits, we

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Speaker 4: learned how to fish and identify which makes are harmless

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Speaker 4: and which ones will kill you. And there's like this

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Speaker 4: this strait of wile, and I think that that's.

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Speaker 3: Really cool because unfortunately, every.

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Speaker 4: Time I see, you know, black people depicted on TV

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Speaker 4: in any kind of like rural or like river strewn area,

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Speaker 4: it's almost always like something about slavery. Like it's just

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Speaker 4: like they're always like running away from dogs trying.

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Speaker 3: To like take them back into bondage.

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Speaker 4: And I'm like, guys, there are a lot of rural

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Speaker 4: black people who like know how to like fish and

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Speaker 4: do the wildlife, you know, outdoors thing.

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Speaker 3: You know, I love to hear stories like that.

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Speaker 1: Picking black joy in the outdoors is something too much of.

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Speaker 2: I totally hear you, dude.

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Speaker 3: Do Mike all alone in the archery club, like come

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Speaker 3: join me? Please?

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Speaker 1: Did every time I see a Latino person in the desert,

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Speaker 1: I'm like, oh, fuck, okay.

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Speaker 2: I know I know where this is going. I couldn't

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Speaker 2: have just been out for a fucking hike. Yeah, I

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Speaker 2: love hiking. Like every time everybody ever.

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Speaker 1: Catches me like outside like an out of a palm springs,

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Speaker 1: there's something they're like, oh, I know where you came from.

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Speaker 2: No, you fucking go.

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Speaker 1: I came from the Ace Hotel, motherfucker, and I just

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Speaker 1: went for a nice little stroll.

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Speaker 3: Fuck you. I was just on a doom buggy. Okay,

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Speaker 3: forget y'all. That's right.

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Speaker 1: Okay, that's why I'm all fucking dirty and thirsty.

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Speaker 2: Okay, motherfucker, because I'm hungover.

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Speaker 1: So to paint a picture of like what Wilmington was

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Speaker 1: like at the time, public beaches around Wilmington were whites only,

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Speaker 1: So Asadast's grandparents moved onto their ocean front property and

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Speaker 1: opened it for business. Right, so they welcome black visitors,

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Speaker 1: sold refreshments, and rented umbrellas.

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Speaker 3: Smart.

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Speaker 2: Yeah, So her time on the.

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Speaker 1: Beach growing up became a sadast picture of what freedom

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Speaker 1: really means, right, watching people enjoy themselves, sharing treats with them,

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Speaker 1: dancing in the sand, kind of what we were talking

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Speaker 1: about about minority joy that you hardly ever see. After

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Speaker 1: elementary school, Asada moved back to New York, and after

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Speaker 1: moving around so much as a kid, she was convinced

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Speaker 1: that there wasn't a place in the United States where

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Speaker 1: she could actually escape discrimination. You know, it was everywhere,

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Speaker 1: both in the North and in the South. So in

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Speaker 1: her teens, Asada ended up back living with her on Eveling,

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Speaker 1: a lawyer who would eventually become a law professor at NYU. Okay,

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Speaker 1: now under Yeah, so under Evelyn's care, Asada made it

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Speaker 1: through high school and into college at the City College

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Speaker 1: in New York. The year ever go to City College

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Speaker 1: or visited that area at all in New York, Yeah.

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Speaker 3: I don't think so. My time in New York was

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Speaker 3: a little bit limited.

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Speaker 4: The only time I lived there was when I was

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Speaker 4: a writer for Jimmy Fallon and that was about four years.

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Speaker 4: And honestly, I went straight from my place in Upper

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Speaker 4: West Side straight to thirty Rocks, So I never really

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Speaker 4: got to know some parts of the city, like City College,

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Speaker 4: and that's where I've.

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Speaker 1: Got my first play, and like I had a mentor

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Speaker 1: who taught film classes there, so I'd come out auditors class.

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Speaker 1: So it still had those feelings that whenever you walk

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Speaker 1: into a place that has been really important to a city,

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Speaker 1: you still feel sort of the ghosts of the past there.

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Speaker 1: And that's what City College fell like to me of

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Speaker 1: learning than most people don't ever talk about.

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Speaker 4: That's one of the best things about in New York

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Speaker 4: is that you feel like the past is all around you.

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Speaker 4: I will say that I think the ghosts of the

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Speaker 4: past were very much alive in the basement of my

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Speaker 4: New York building, Like I never wanted to go to

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Speaker 4: that laundry.

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Speaker 3: Oh, it's that's fully haunted. Haunted.

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Speaker 1: In nineteen sixty seven, Assada joined other students at City

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Speaker 1: College to protest the lack of black professors and black

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Speaker 1: history being taught. Their entire group was arrested, and the

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Speaker 1: violence of these arrests made one thing clear. Asada knew

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Speaker 1: it would take a revolution for America to change. She

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00:18:38,400 --> 00:18:40,960
Speaker 1: made more friends in other radical groups and took a

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Speaker 1: trip to California, which is the original home of the

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Speaker 1: Black Panthers. The Panthers there challenged her to get off

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Speaker 1: the sidelines and get involved, so she went home to

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Speaker 1: New York and she stepped it up. Was a Black

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Speaker 1: Panther party, something you were aware of growing up?

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Speaker 4: Yeah, I mean again, my father was, you know, very

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Speaker 4: much of that sort of generation. And I mean, like

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Speaker 4: we to grow up in my household was to know

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Speaker 4: Fred Hampton, Huey P.

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Speaker 3: Newton, you know my father.

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Speaker 4: Just to this day, I have a painting of his.

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Speaker 4: It's called Fairbanks or Garvy, and it's got a prominent

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Speaker 4: picture of Marcus Garvey, you know in the painting. You know,

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Speaker 4: like you definitely instilled upon us that we should take

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Speaker 4: great pride in our.

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Speaker 3: People, our accomplishments.

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Speaker 4: You know, one thing that he said to me back

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Speaker 4: when I was young that didn't really register until I

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Speaker 4: had my own kids was just this idea, and this

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00:19:29,000 --> 00:19:31,680
Speaker 4: applies to you and everybody who's listening, is that there

436
00:19:31,720 --> 00:19:37,280
Speaker 4: have been so many wars and conflicts and genocides and plagues.

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Speaker 4: Everybody alive today is a bloodline that survived all that

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Speaker 4: from the beginning of freaking time. I think that's so

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Speaker 4: amazing that all of us have an ancestor who was

440
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Speaker 4: able to jump over a rhino, you know, survive a flood.

441
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Speaker 4: Oh yeah, man, I mean, like, you know, just the

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Speaker 4: idea that all of us have managed to survive all

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Speaker 4: of human history and get to the point where we're

444
00:20:00,840 --> 00:20:05,479
Speaker 4: now talking into you know, machines and over invisible waves.

445
00:20:05,480 --> 00:20:07,720
Speaker 4: It's kind of amazing. But I think that, Yeah, my

446
00:20:07,760 --> 00:20:10,040
Speaker 4: father's lesson would have been just that, you know, take

447
00:20:10,080 --> 00:20:13,200
Speaker 4: pride in what human stock you come from, and try

448
00:20:13,240 --> 00:20:15,199
Speaker 4: to instill that same pride in your children.

449
00:20:15,440 --> 00:20:16,280
Speaker 2: That's beautiful, man.

450
00:20:25,000 --> 00:20:28,119
Speaker 1: In nineteen sixty six, Hueing Newton and Bobby Seal founded

451
00:20:28,160 --> 00:20:31,600
Speaker 1: the Black Panther Party in Oakland. By nineteen sixty nine,

452
00:20:31,680 --> 00:20:34,879
Speaker 1: the Panthers had branches all across the country. They built

453
00:20:34,920 --> 00:20:38,240
Speaker 1: networks of mutual aid, They ran medical clinics, they held

454
00:20:38,359 --> 00:20:41,880
Speaker 1: educational programs and served breakfast for kids and poverty.

455
00:20:42,040 --> 00:20:44,080
Speaker 3: Yeah, I mean that was sort of the main appeal.

456
00:20:44,240 --> 00:20:44,560
Speaker 3: I think.

457
00:20:44,680 --> 00:20:47,560
Speaker 4: You know, anytime you hear people talk about the Panthers nowadays,

458
00:20:47,640 --> 00:20:49,760
Speaker 4: you always hear about that, you know, shout out to

459
00:20:49,800 --> 00:20:51,800
Speaker 4: my friends, the Lucas brothers. I thought they did an

460
00:20:51,840 --> 00:20:55,080
Speaker 4: amazing job on the script for Judas and the Black Messie.

461
00:20:56,160 --> 00:20:59,640
Speaker 3: If you watched that movie, I guarantee, first off, I think.

462
00:20:59,480 --> 00:21:02,000
Speaker 4: That you know, I know that Daniel got nominated for

463
00:21:02,000 --> 00:21:03,600
Speaker 4: a lot of stuff in that movie. But to me,

464
00:21:03,840 --> 00:21:08,680
Speaker 4: le Keith Stanfield is he's such a Robert de Niro

465
00:21:09,359 --> 00:21:11,399
Speaker 4: at a young age, Like I just feel like the

466
00:21:11,520 --> 00:21:14,159
Speaker 4: Keith is he disappears into this character.

467
00:21:14,240 --> 00:21:17,199
Speaker 3: He plays every level. If even if you just like

468
00:21:17,320 --> 00:21:18,520
Speaker 3: a good movie.

469
00:21:18,400 --> 00:21:20,920
Speaker 4: I would actually recommend Judas in the Black Nosiah. But

470
00:21:20,960 --> 00:21:23,880
Speaker 4: I'd also point out that that movie points out that

471
00:21:23,960 --> 00:21:27,200
Speaker 4: the Panthers weren't It wasn't an organization that started like, yeah,

472
00:21:27,200 --> 00:21:28,720
Speaker 4: we're gonna get a bunch of guns and kill people.

473
00:21:28,760 --> 00:21:29,919
Speaker 4: That's not what it was really about.

474
00:21:29,960 --> 00:21:30,760
Speaker 3: And okay, great.

475
00:21:30,840 --> 00:21:33,520
Speaker 4: You know it represents that side of the story that

476
00:21:33,560 --> 00:21:36,080
Speaker 4: you don't get told unless you, you know, do research.

477
00:21:38,920 --> 00:21:41,359
Speaker 1: It was nineteen seventy when Asada joined the Panthers in

478
00:21:41,400 --> 00:21:43,919
Speaker 1: New York. By that point there were Panther offices in

479
00:21:44,040 --> 00:21:45,680
Speaker 1: sixty eight cities.

480
00:21:45,359 --> 00:21:46,440
Speaker 3: Wow I saw.

481
00:21:46,520 --> 00:21:48,800
Speaker 1: His first role with the Panthers was running the children's

482
00:21:48,800 --> 00:21:51,800
Speaker 1: Bakfast program in Harlem. She became the head of the

483
00:21:51,880 --> 00:21:55,800
Speaker 1: Harlem office, responsible for the free clinics and the community outreach.

484
00:21:56,359 --> 00:21:59,400
Speaker 2: Okay, so Shakour is an Arabic name for thankful.

485
00:22:00,040 --> 00:22:03,199
Speaker 1: Many Panthers in New York took the name to represent

486
00:22:03,240 --> 00:22:06,480
Speaker 1: their unity, and Asato was among them. When Panther leader

487
00:22:06,480 --> 00:22:09,960
Speaker 1: Fred Hampton was murdered by the Chicago police, many party

488
00:22:10,000 --> 00:22:12,919
Speaker 1: members were convinced that mutual aid wasn't enough, you know,

489
00:22:13,000 --> 00:22:15,560
Speaker 1: they had to fight back, literally, So some of the

490
00:22:15,600 --> 00:22:18,679
Speaker 1: New York Panthers started to go underground, living under assumed

491
00:22:18,720 --> 00:22:21,560
Speaker 1: names and keeping low profile. Asato was one of them.

492
00:22:21,800 --> 00:22:24,199
Speaker 1: She disappeared from her family and friends. She knew that

493
00:22:24,240 --> 00:22:26,720
Speaker 1: her aunt, her mom, and her grandparents were all being

494
00:22:26,760 --> 00:22:29,919
Speaker 1: watched by the police. So ASADA's name started to hit

495
00:22:29,960 --> 00:22:32,880
Speaker 1: the headlines in the early nineteen seventies. So the police

496
00:22:32,920 --> 00:22:36,240
Speaker 1: wanted her for bank robberies, bombings, and the murder of

497
00:22:36,280 --> 00:22:38,960
Speaker 1: police officers. She seems to have been in so many

498
00:22:39,000 --> 00:22:41,600
Speaker 1: places at the same time, you know, like, how could

499
00:22:41,640 --> 00:22:43,800
Speaker 1: she have hid banks in the Bronx and in Brooklyn

500
00:22:43,960 --> 00:22:47,439
Speaker 1: and in New Orleans is so close together. Apparently the

501
00:22:47,440 --> 00:22:50,120
Speaker 1: police didn't really care so much about the timelines because

502
00:22:50,160 --> 00:22:50,960
Speaker 1: they didn't add up.

503
00:22:51,080 --> 00:22:53,879
Speaker 4: I'd forgotten about the bank robberies. It's so interesting to

504
00:22:53,920 --> 00:22:57,359
Speaker 4: me because as a storyteller and in somebody who loves

505
00:22:57,400 --> 00:23:00,720
Speaker 4: movies and books and stuff, especially about true crime. You know,

506
00:23:00,800 --> 00:23:03,960
Speaker 4: you sort of see a lionization of people like Billy

507
00:23:04,000 --> 00:23:07,760
Speaker 4: the Kid and Mom Baker and Bonnie and Clyde, like

508
00:23:07,800 --> 00:23:09,280
Speaker 4: you sort of see them as sort of held up

509
00:23:09,320 --> 00:23:11,000
Speaker 4: a's like these were outlaws you.

510
00:23:10,920 --> 00:23:13,000
Speaker 3: Can root for. But you never really hear that.

511
00:23:13,119 --> 00:23:20,200
Speaker 4: Abouts too apparently, so you know, it just depends on sometimes,

512
00:23:20,240 --> 00:23:22,159
Speaker 4: like how people feel about a person.

513
00:23:27,720 --> 00:23:30,520
Speaker 1: So in May nineteen seventy three, after she had lived

514
00:23:30,520 --> 00:23:34,520
Speaker 1: for two years underground, Asada was captured. She was riding

515
00:23:34,520 --> 00:23:36,800
Speaker 1: in the front seat of a white Pontiac with two

516
00:23:36,920 --> 00:23:41,600
Speaker 1: other activists, say Malik Shakur and Sundiata Akali. They were

517
00:23:41,640 --> 00:23:44,800
Speaker 1: traveling the New Jersey Turnpike when they saw police lights

518
00:23:44,840 --> 00:23:47,280
Speaker 1: behind them. The police report says that it had a

519
00:23:47,320 --> 00:23:51,080
Speaker 1: broken taylight. So there are two versions of what happened next.

520
00:23:51,280 --> 00:23:53,640
Speaker 1: The first one says that when the state police officer

521
00:23:53,760 --> 00:23:56,280
Speaker 1: told the driver to get out of the car, Asada

522
00:23:56,320 --> 00:24:00,159
Speaker 1: started shooting from the passenger seat. A firefight ensued and

523
00:24:00,200 --> 00:24:02,879
Speaker 1: in the storm of bullets, two police officers were shot

524
00:24:03,080 --> 00:24:07,080
Speaker 1: and one was killed alongside, said Shakor. After shooting two

525
00:24:07,119 --> 00:24:10,360
Speaker 1: police officers, Asada was hid in the chest and the shoulder,

526
00:24:10,840 --> 00:24:14,160
Speaker 1: and that was what the police said happened. But Asada

527
00:24:14,160 --> 00:24:17,119
Speaker 1: remembers it very differently. She says that when the police

528
00:24:17,119 --> 00:24:19,720
Speaker 1: stopped them, her hands were up and as the shooting

529
00:24:19,760 --> 00:24:22,439
Speaker 1: started around them, she was hit by a bullet before

530
00:24:22,480 --> 00:24:25,080
Speaker 1: she could even leave the seat in her car. She

531
00:24:25,160 --> 00:24:27,600
Speaker 1: says that she never even had a gun let alone

532
00:24:27,600 --> 00:24:30,120
Speaker 1: and fired one. A Colliue was able to jump back

533
00:24:30,119 --> 00:24:33,919
Speaker 1: in the car and race another five miles down the turnpike,

534
00:24:34,160 --> 00:24:37,199
Speaker 1: chased by three police cars. Now, when the road was

535
00:24:37,240 --> 00:24:39,600
Speaker 1: closed and a Collie was finally forced to pull over,

536
00:24:39,920 --> 00:24:42,320
Speaker 1: he jumped out of the car and race into the woods.

537
00:24:42,680 --> 00:24:46,439
Speaker 1: Assada stepped out and slowly approached the police covered in blood.

538
00:24:46,800 --> 00:24:49,200
Speaker 1: She was arrested and rushed to the hospital, and her

539
00:24:49,280 --> 00:24:52,679
Speaker 1: years of imprisonment began. She was held under armguard for

540
00:24:52,720 --> 00:24:55,160
Speaker 1: twenty four hours a day, and in her later writings,

541
00:24:55,200 --> 00:24:57,960
Speaker 1: Asada would describe the ways that she was tortured by

542
00:24:57,960 --> 00:25:01,160
Speaker 1: the New Jersey State Police while off to a hospital bed,

543
00:25:01,840 --> 00:25:04,120
Speaker 1: all the while she was fighting to recover.

544
00:25:03,880 --> 00:25:07,400
Speaker 2: From her own bullet wounds. And she never fucking cracked.

545
00:25:08,040 --> 00:25:11,760
Speaker 1: Yeah, dude, I would fucking like interrogation and me would break.

546
00:25:11,800 --> 00:25:13,920
Speaker 2: Bro, Like I don't, I wouldn't survive.

547
00:25:14,040 --> 00:25:16,080
Speaker 1: My aunt looks at me funny, and I'm like, I'll

548
00:25:16,080 --> 00:25:17,440
Speaker 1: confess the shit I haven't even done.

549
00:25:17,680 --> 00:25:19,520
Speaker 4: Let me tell you first off, well that's that's that's

550
00:25:19,520 --> 00:25:21,840
Speaker 4: actually the case to be made against torture, right. They

551
00:25:21,840 --> 00:25:24,720
Speaker 4: always say experts on torture say torture doesn't actually work

552
00:25:24,760 --> 00:25:27,120
Speaker 4: because at some point people just want the torture to end.

553
00:25:27,400 --> 00:25:29,720
Speaker 4: So you can say, like you are Mickey Mouse, and

554
00:25:29,760 --> 00:25:30,600
Speaker 4: people will be like, oh.

555
00:25:31,240 --> 00:25:31,760
Speaker 3: You know, like.

556
00:25:35,880 --> 00:25:40,760
Speaker 2: Handed, They're like, man, he's lost his mind. But I

557
00:25:40,800 --> 00:25:41,200
Speaker 2: love it.

558
00:25:41,240 --> 00:25:43,120
Speaker 4: I mean, I always tell people I'm like, don't tell

559
00:25:43,160 --> 00:25:45,919
Speaker 4: me anything because I will probably snitch, like you know,

560
00:25:46,040 --> 00:25:48,159
Speaker 4: like I'll just like to keep my nose cleans out

561
00:25:48,200 --> 00:25:49,960
Speaker 4: of speak because like you know, I.

562
00:25:50,160 --> 00:25:50,719
Speaker 3: Don't want to know.

563
00:25:50,880 --> 00:25:52,560
Speaker 4: I don't want to know, and I feel like I

564
00:25:52,600 --> 00:25:54,600
Speaker 4: give off that energy.

565
00:25:56,480 --> 00:25:58,520
Speaker 1: So when she was finally strong enough to be moved,

566
00:25:58,720 --> 00:26:01,920
Speaker 1: Asada left the hospital to the Middlesex County Workhouse, where

567
00:26:01,960 --> 00:26:04,639
Speaker 1: she was the only female prisoner at the jail. It

568
00:26:04,680 --> 00:26:07,040
Speaker 1: was the first of many men's prisons where she would

569
00:26:07,080 --> 00:26:09,520
Speaker 1: be held while the charges against her went forward. They

570
00:26:09,560 --> 00:26:12,359
Speaker 1: were extremely fucking scared of her. It's so wild that

571
00:26:12,440 --> 00:26:14,560
Speaker 1: they have to keep her in a men's prison now

572
00:26:14,600 --> 00:26:17,320
Speaker 1: her A Evelyn left her job at NYU and took

573
00:26:17,320 --> 00:26:21,000
Speaker 1: on ASADA's legal case full time. That July fourth, Evelyn

574
00:26:21,040 --> 00:26:23,840
Speaker 1: brought a tape recorder with her and recorded A. Sada's

575
00:26:23,880 --> 00:26:26,720
Speaker 1: most famous statement, which came to be known as to

576
00:26:26,840 --> 00:26:30,199
Speaker 1: my People. She introduced herself to the world as Asada Shakur,

577
00:26:30,359 --> 00:26:34,119
Speaker 1: Black Revolutionary. She said, there is and always will be

578
00:26:34,359 --> 00:26:37,719
Speaker 1: until every black man, woman and child is free a

579
00:26:37,760 --> 00:26:41,000
Speaker 1: black liberation army. And it was closed with a line

580
00:26:41,000 --> 00:26:44,280
Speaker 1: from the communist manifesto, we have nothing.

581
00:26:44,000 --> 00:26:45,920
Speaker 2: To lose but our change.

582
00:26:46,480 --> 00:26:49,160
Speaker 1: Evelyn spread the recording and it played on black radio

583
00:26:49,200 --> 00:26:52,600
Speaker 1: stations all around New York. Magazines were printed it and

584
00:26:52,680 --> 00:26:55,640
Speaker 1: white media figures of course, Wind and Wind about it.

585
00:26:55,920 --> 00:26:58,800
Speaker 1: Reporters were actually banned from meeting with Asada. You see,

586
00:26:58,840 --> 00:27:01,840
Speaker 1: her voice was so powerfull. Imagine that that the judges

587
00:27:01,880 --> 00:27:04,639
Speaker 1: and the cops and the prison guards were just scrambling

588
00:27:04,680 --> 00:27:07,119
Speaker 1: to keep up with her even though she was locked up.

589
00:27:07,400 --> 00:27:11,080
Speaker 3: Wow.

590
00:27:12,080 --> 00:27:15,199
Speaker 1: In nineteen seventy four, Assada finally went to trial, but

591
00:27:15,280 --> 00:27:17,480
Speaker 1: guess what, she kept beating the charges.

592
00:27:18,600 --> 00:27:21,919
Speaker 2: First, she was acquitted of some robbery charges. A month later,

593
00:27:22,080 --> 00:27:24,440
Speaker 2: she was tried for killing a police officer, but there

594
00:27:24,520 --> 00:27:27,200
Speaker 2: was an evidence against her and the case was dismissed.

595
00:27:27,359 --> 00:27:27,679
Speaker 3: Wow.

596
00:27:27,720 --> 00:27:31,640
Speaker 1: In January nineteen seventy six, Assada faced a kidnapping charge

597
00:27:31,720 --> 00:27:35,440
Speaker 1: and she beat that too. When she was finally tried

598
00:27:35,440 --> 00:27:37,880
Speaker 1: for the Queen's Bank, the first case that had actually

599
00:27:37,920 --> 00:27:41,639
Speaker 1: put her in the paper, Asada was easily acquitted.

600
00:27:41,920 --> 00:27:43,080
Speaker 2: Like what damn.

601
00:27:44,640 --> 00:27:47,280
Speaker 1: The photograph published by the police didn't look like her

602
00:27:47,440 --> 00:27:47,840
Speaker 1: at all.

603
00:27:48,359 --> 00:27:50,800
Speaker 2: The bank manager who had been there for the robbery.

604
00:27:50,800 --> 00:27:53,200
Speaker 4: I'm sorry they did a drawing and it didn't look

605
00:27:53,240 --> 00:27:53,560
Speaker 4: like her.

606
00:27:53,760 --> 00:27:56,320
Speaker 1: Well, the photograph that they put out of who had

607
00:27:56,359 --> 00:27:58,440
Speaker 1: actually robbed the bank, you know, so it's sort of

608
00:27:58,480 --> 00:28:01,360
Speaker 1: the photo evidence right off the bank didn't look like.

609
00:28:01,280 --> 00:28:02,639
Speaker 3: Her at all.

610
00:28:02,800 --> 00:28:03,800
Speaker 2: Yeah, it's really flimsy.

611
00:28:03,880 --> 00:28:07,200
Speaker 1: Charges And the bank manager who had been there for

612
00:28:07,760 --> 00:28:10,560
Speaker 1: the robbery testified that Asada was not the woman who

613
00:28:10,600 --> 00:28:12,119
Speaker 1: had held him at gunpoint.

614
00:28:12,280 --> 00:28:12,679
Speaker 3: There you go.

615
00:28:12,760 --> 00:28:14,439
Speaker 1: He's like, no, it was a redhead woman. And she

616
00:28:14,520 --> 00:28:17,800
Speaker 1: was like, I'm Wendy, Like I don't I played like.

617
00:28:17,840 --> 00:28:21,399
Speaker 4: These these facial recognition features on some of the on

618
00:28:21,440 --> 00:28:24,520
Speaker 4: some of the robots nowadays, like they have a harder

619
00:28:24,560 --> 00:28:27,480
Speaker 4: time recognizing black people because the people who programmed them

620
00:28:28,000 --> 00:28:30,280
Speaker 4: just didn't use a lot of black subjects. So like

621
00:28:30,280 --> 00:28:32,480
Speaker 4: they're just like they look at me and they're like, ahh,

622
00:28:32,600 --> 00:28:33,440
Speaker 4: that's Martin Luther King.

623
00:28:33,880 --> 00:28:38,400
Speaker 3: No, no, man, fuck, I don't really look like King anyway.

624
00:28:38,400 --> 00:28:38,840
Speaker 3: Go ahead.

625
00:28:40,000 --> 00:28:44,320
Speaker 1: So, in nineteen seventy seven, the victories for Asada finally

626
00:28:44,360 --> 00:28:46,360
Speaker 1: came to an end. Right she was found guilty of

627
00:28:46,440 --> 00:28:49,280
Speaker 1: first degree murder along with many other charges, for the

628
00:28:49,280 --> 00:28:52,240
Speaker 1: shootout on the New Jersey Turnpike. Now halfway through the trial,

629
00:28:52,280 --> 00:28:55,600
Speaker 1: ASADA's new lawyer, Stanley Cohen was found dead in his

630
00:28:55,720 --> 00:28:56,840
Speaker 1: fucking apartment.

631
00:28:57,280 --> 00:28:59,240
Speaker 3: Is that I didn't even know announce it that. I'm lurry.

632
00:28:59,280 --> 00:28:59,959
Speaker 3: I did not know that.

633
00:29:00,440 --> 00:29:03,040
Speaker 1: So he had been collecting evidence against the police witnesses,

634
00:29:03,160 --> 00:29:06,280
Speaker 1: recruiting forensic chemists to show that there was no evidence

635
00:29:06,280 --> 00:29:09,600
Speaker 1: of gunfire on Assata's hands, and uncovering what he believed

636
00:29:09,640 --> 00:29:13,760
Speaker 1: were falsified documents in the prosecution's case. So fucked up,

637
00:29:13,920 --> 00:29:17,160
Speaker 1: And the newspapers reported that Stanley died of natural causes.

638
00:29:17,680 --> 00:29:21,320
Speaker 2: So we're not saying that the police killed or are we, like,

639
00:29:21,480 --> 00:29:22,719
Speaker 2: cause that'd be crazy.

640
00:29:22,760 --> 00:29:23,520
Speaker 3: You know, there were a.

641
00:29:23,480 --> 00:29:26,200
Speaker 4: Lot of suspicious deaths back in those days, and I

642
00:29:26,200 --> 00:29:28,880
Speaker 4: do think that, you know, we have forensics have come

643
00:29:28,960 --> 00:29:32,440
Speaker 4: a long way, right since nine seventy whatever this was.

644
00:29:32,520 --> 00:29:34,720
Speaker 4: I mean like, but it is suspicious that he died

645
00:29:34,760 --> 00:29:37,720
Speaker 4: of unknown causes. I mean, like, I don't even watch

646
00:29:37,800 --> 00:29:41,760
Speaker 4: unsolved mysteries. Yeah, I like my mysteries and solved. The

647
00:29:41,760 --> 00:29:43,840
Speaker 4: worst thing about unsolved mysteries is that like when they

648
00:29:43,840 --> 00:29:45,720
Speaker 4: come to the other they're like, did they die or

649
00:29:45,720 --> 00:29:47,680
Speaker 4: did they just disappear? And then they start rolling the

650
00:29:47,680 --> 00:29:49,720
Speaker 4: crash They're like that's not satisfying.

651
00:29:49,440 --> 00:29:52,000
Speaker 1: But that's unsolved mysteries, which at least like come with

652
00:29:52,040 --> 00:29:54,840
Speaker 1: a built in like I played myself, I fucking eat

653
00:29:54,920 --> 00:29:59,600
Speaker 1: documentaries that are five fucking ninety minute episodes long. And

654
00:29:59,640 --> 00:30:01,360
Speaker 1: then the it's like, we don't know if he faked

655
00:30:01,360 --> 00:30:03,400
Speaker 1: his own death or he didn't tell me that at

656
00:30:03,400 --> 00:30:13,520
Speaker 1: the beginning. Man. Now, once she was convicted, Asada was

657
00:30:13,600 --> 00:30:16,400
Speaker 1: moved to yardbuilt prison in New Jersey. Her young daughter

658
00:30:16,440 --> 00:30:18,280
Speaker 1: went to live with her mother in New York, and

659
00:30:18,320 --> 00:30:21,400
Speaker 1: Asada and the other members of the Underground knew that

660
00:30:21,440 --> 00:30:24,320
Speaker 1: they couldn't rely on justice from the courts. Instead, they

661
00:30:24,360 --> 00:30:30,080
Speaker 1: planned her prison breaks. So let's do a cool little

662
00:30:30,080 --> 00:30:32,840
Speaker 1: recap of the prison break. As I understand it, three

663
00:30:32,880 --> 00:30:36,040
Speaker 1: people went in. They never got searched. One went particularly

664
00:30:36,040 --> 00:30:38,880
Speaker 1: to visit Asada, pulled out two massive pistols. He had

665
00:30:39,480 --> 00:30:43,000
Speaker 1: a Mexican bandido gun belt as well. That part I

666
00:30:43,080 --> 00:30:46,520
Speaker 1: added myself. There were seventies music playing. Everybody had Cyeburns,

667
00:30:46,520 --> 00:30:48,880
Speaker 1: they had afros. They jumped into the van, they like

668
00:30:48,920 --> 00:30:51,320
Speaker 1: sped off and they got away with it. So far,

669
00:30:51,400 --> 00:30:54,880
Speaker 1: so good, great. I really hope Benju adds really cool

670
00:30:54,960 --> 00:31:02,680
Speaker 1: seventy music to the background of all that. After Asada

671
00:31:02,720 --> 00:31:04,640
Speaker 1: was busted out, the FEDS put her back on their

672
00:31:04,680 --> 00:31:07,200
Speaker 1: most wanted lists, and just like the years before, they

673
00:31:07,280 --> 00:31:10,240
Speaker 1: started linking her to a series of crimes, right saying

674
00:31:10,320 --> 00:31:13,160
Speaker 1: they spotted her at the scenes of shootings and burglaries

675
00:31:13,200 --> 00:31:15,720
Speaker 1: and other stuff like that. After a few years past,

676
00:31:15,880 --> 00:31:18,800
Speaker 1: the FBI started getting reports that Asada had made it

677
00:31:18,800 --> 00:31:21,400
Speaker 1: to Cula, the home of the revolution that inspired the

678
00:31:21,440 --> 00:31:25,280
Speaker 1: Black Panthers in the beginning. When Asada published a biography

679
00:31:25,280 --> 00:31:28,440
Speaker 1: in nineteen eighty seven, she described her life of imprisonment

680
00:31:28,480 --> 00:31:30,520
Speaker 1: and exile, but she actually.

681
00:31:30,160 --> 00:31:31,440
Speaker 2: Sounded happy to be in Gula.

682
00:31:31,800 --> 00:31:34,000
Speaker 1: She called it a country of hope, and she ended

683
00:31:34,000 --> 00:31:36,560
Speaker 1: her book with a series of poetic meditations on her

684
00:31:36,600 --> 00:31:39,920
Speaker 1: life there, about the openness and beauty of Havana and

685
00:31:40,000 --> 00:31:42,760
Speaker 1: of the Cuban culture. And there, beyond the reach of

686
00:31:42,760 --> 00:31:45,400
Speaker 1: the US government, Asada was finally able to pick up

687
00:31:45,400 --> 00:31:48,440
Speaker 1: a telephone, call home and talk with her family for

688
00:31:48,480 --> 00:31:52,080
Speaker 1: the first time in five years. In twenty twenty two,

689
00:31:52,280 --> 00:31:56,480
Speaker 1: Assada celebrated her seventy fifth birthday in Cuba. The US

690
00:31:56,560 --> 00:31:59,160
Speaker 1: government is still working today to extra at her from

691
00:31:59,200 --> 00:32:02,880
Speaker 1: Cuba and in prison her again so Asada continues to

692
00:32:02,920 --> 00:32:05,800
Speaker 1: say that she also has a duty as long as

693
00:32:05,840 --> 00:32:09,000
Speaker 1: she lives, she's going to carry on the black liberation

694
00:32:09,120 --> 00:32:12,400
Speaker 1: struggle and despite everything, to continue to be human, to

695
00:32:12,480 --> 00:32:18,840
Speaker 1: be giving, and to be loving. What do you take

696
00:32:18,840 --> 00:32:21,680
Speaker 1: away from stories of panthers like Asda.

697
00:32:22,280 --> 00:32:25,840
Speaker 4: I think police organizations have to realize that there were

698
00:32:26,040 --> 00:32:28,520
Speaker 4: some abuses that led to a lack of trust in

699
00:32:28,560 --> 00:32:31,120
Speaker 4: these communities and that there's a lot of healing.

700
00:32:30,760 --> 00:32:31,760
Speaker 3: That has to take place.

701
00:32:31,800 --> 00:32:35,000
Speaker 4: It's not as simple as like, oh, this person did

702
00:32:35,040 --> 00:32:36,880
Speaker 4: this thing, which, by the way, as you've pointed out

703
00:32:36,880 --> 00:32:39,440
Speaker 4: in this podcast, is not cut and dry, you know.

704
00:32:39,600 --> 00:32:41,800
Speaker 2: In order for the healing to begin, like, the past

705
00:32:41,880 --> 00:32:42,920
Speaker 2: needs to be acknowledged.

706
00:32:43,160 --> 00:32:46,280
Speaker 4: No, it's true, there's too much of that, Like, okay, guys,

707
00:32:46,280 --> 00:32:47,200
Speaker 4: this is the ancient past.

708
00:32:47,240 --> 00:32:49,320
Speaker 3: Can we just please move on this? There's too much

709
00:32:49,320 --> 00:32:49,600
Speaker 3: of that.

710
00:32:49,640 --> 00:32:52,080
Speaker 4: And I think if you don't acknowledge the past, and

711
00:32:52,240 --> 00:32:53,840
Speaker 4: it's hard to move into the future, you know what

712
00:32:53,880 --> 00:32:55,600
Speaker 4: I mean. And I think that's why it's so disturbing

713
00:32:55,600 --> 00:32:58,200
Speaker 4: that there's so many places that are trying to whitewash

714
00:32:58,280 --> 00:33:00,440
Speaker 4: history right now, and they do it under the rubric

715
00:33:00,480 --> 00:33:05,400
Speaker 4: of this you know, basically law school centric concept of

716
00:33:05,440 --> 00:33:08,120
Speaker 4: critical race theory, and then they pretend that, oh, if

717
00:33:08,120 --> 00:33:11,320
Speaker 4: we teach people that America wasn't perfect.

718
00:33:11,120 --> 00:33:12,480
Speaker 3: Then that's critical race theory.

719
00:33:12,560 --> 00:33:14,640
Speaker 4: Like, no, you don't even know what You don't even

720
00:33:14,640 --> 00:33:16,080
Speaker 4: know what critical race theory is.

721
00:33:16,120 --> 00:33:17,200
Speaker 3: If that's what you think.

722
00:33:17,120 --> 00:33:19,680
Speaker 1: You can love something and want to improve something and

723
00:33:19,760 --> 00:33:21,120
Speaker 1: still acknowledge its flaws.

724
00:33:21,400 --> 00:33:23,600
Speaker 4: You can love your father but also be like, hey dad,

725
00:33:23,640 --> 00:33:26,120
Speaker 4: stop drinking, stop drinking, stop thking.

726
00:33:34,400 --> 00:33:36,680
Speaker 1: Hey man, I am so honored to have had you

727
00:33:36,760 --> 00:33:38,840
Speaker 1: here before we go. Do you have anything that you

728
00:33:38,880 --> 00:33:39,920
Speaker 1: want to that you want.

729
00:33:39,760 --> 00:33:42,480
Speaker 2: Our listeners to look out for of yours? Coming up?

730
00:33:42,800 --> 00:33:46,320
Speaker 4: Man, there's so much coming up, from from the music

731
00:33:46,440 --> 00:33:49,240
Speaker 4: and the comedy of Sherman Showcase to what I think

732
00:33:49,280 --> 00:33:51,920
Speaker 4: is one of just the funniest uh you know, get

733
00:33:51,920 --> 00:33:54,640
Speaker 4: to know the characters type show Southside on HBO Max.

734
00:33:54,880 --> 00:33:57,800
Speaker 4: I think the easiest way for people to check out

735
00:33:57,880 --> 00:34:00,840
Speaker 4: some of the work that I and but Sheer have done.

736
00:34:01,240 --> 00:34:03,760
Speaker 3: Uh, follow me on Instagram.

737
00:34:03,040 --> 00:34:06,920
Speaker 4: At Dallo, not Diablo and Dalloff.

738
00:34:07,080 --> 00:34:08,040
Speaker 3: That's a different account.

739
00:34:08,239 --> 00:34:10,759
Speaker 1: Diablo account gets all these followers now and they're like, I.

740
00:34:10,760 --> 00:34:13,239
Speaker 2: Don't know, man, this guy doesn't look like a DJ.

741
00:34:14,280 --> 00:34:17,879
Speaker 4: I gotta say he's pretty entertaining at d allo d

742
00:34:17,960 --> 00:34:20,719
Speaker 4: I A L l O. And you'll you'll always know

743
00:34:20,800 --> 00:34:23,239
Speaker 4: about like sort of what we're digging and what we're

744
00:34:23,320 --> 00:34:26,200
Speaker 4: producing and uh and yeah, man, thanks thanks for having

745
00:34:26,200 --> 00:34:26,640
Speaker 4: me on right.

746
00:34:26,719 --> 00:34:28,200
Speaker 1: Alred to have you, and thank you for being so

747
00:34:28,280 --> 00:34:30,520
Speaker 1: open about your dad and his art. And it means

748
00:34:30,520 --> 00:34:32,480
Speaker 1: a lot to us when when guests come on here

749
00:34:32,520 --> 00:34:35,160
Speaker 1: and they share moments to shape them. So thank you

750
00:34:35,200 --> 00:34:36,560
Speaker 1: so much for a friend of the show. You can

751
00:34:36,560 --> 00:34:41,880
Speaker 1: come back anytime, brother, Thank you so much. Breh bye.

752
00:34:45,120 --> 00:34:47,759
Speaker 1: Gratist Escapes is a production of iHeartRadio and Film Nation

753
00:34:47,920 --> 00:34:51,759
Speaker 1: Entertainment in association with Gilded Audio or executive producers for

754
00:34:51,920 --> 00:34:54,759
Speaker 1: me or Turo Castro, Alyssa Martino and Milan Papelka from

755
00:34:54,760 --> 00:34:58,560
Speaker 1: Film Nation Entertainment, Andrew Chug and Winning Donaldson from Gilded Audio,

756
00:34:58,719 --> 00:35:01,800
Speaker 1: and Dylan Fagan from I Radio. The show is produced

757
00:35:01,800 --> 00:35:05,000
Speaker 1: and edited by Carl Nellis and Ben Chubb, who are also, respectively,

758
00:35:05,080 --> 00:35:08,520
Speaker 1: our research overlord and music overlord. Our associate producer is

759
00:35:08,520 --> 00:35:11,520
Speaker 1: Tory Smith, who's our other overlord. Nick Dooley is our

760
00:35:11,520 --> 00:35:15,320
Speaker 1: technical director. Additional editing by Whitney Donaldson Special thanks to

761
00:35:15,400 --> 00:35:19,360
Speaker 1: Alison Cohen, Dan Welsh, Ben Riizek, Sarah Joyner, Nicki Stein,

762
00:35:19,440 --> 00:35:38,399
Speaker 1: Olivia Canny, and Kelsey Albright. Hey, thank you so much

763
00:35:38,400 --> 00:35:40,640
Speaker 1: for listening, and if you're enjoying the show, please drop

764
00:35:40,640 --> 00:35:42,920
Speaker 1: a rating or review. My mom will call you each

765
00:35:42,960 --> 00:35:45,680
Speaker 1: personally and thank you, and we'll see you all next

766
00:35:45,680 --> 00:35:46,040
Speaker 1: week