National

Officials: US Report Finds Racial Bias in Ferguson Police

Published

11 years ago

March 3, 2015

In this Nov. 26, 2014, file photo, nembers of Missouri National Guard stand outside of the Ferguson Police Department and the Municipal Court in Ferguson, Mo. A Justice Department investigation has found patterns of racial bias in the Ferguson police department and at the municipal jail and court. The full report, to be publicly released on March 4, says the investigation found Ferguson officers disproportionately used excessive force against blacks and too often charged them with petty offenses. (AP Photo/Jeff Roberson, File)

ERIC TUCKER, Associated Press

WASHINGTON (AP) — A Justice Department investigation found sweeping patterns of racial bias within the Ferguson, Missouri, police department, with officers routinely discriminating against blacks by using excessive force, issuing petty citations and making baseless traffic stops, according to law enforcement officials familiar with its findings.

The report, which Ferguson city officials said would be released Wednesday, marks the culmination of a months-long investigation into a police department that federal officials have described as troubled and that commanded national attention after one of its officers shot and killed an unarmed black man, 18-year-old Michael Brown, last summer.

It chronicles discriminatory practices across the city’s criminal justice system, detailing problems from initial encounters with patrol officers to treatment in the municipal court and jail. Federal law enforcement officials described its contents on condition of anonymity because they were not authorized to speak publicly before the report is released.

The full report could serve as a roadmap for significant changes by the department, if city officials accept its findings. Past federal investigations of local police departments have encouraged overhauls of fundamental police procedures such as traffic stops and the use of service weapons. The Justice Department maintains the right to sue police departments that resist making changes.

The city of Ferguson released a statement acknowledging that Justice Department officials supplied a copy of the report to the mayor, city manager, police chief and city attorney during a private meeting Tuesday in downtown St. Louis. The statement offered no details about the report, which the city said it was reviewing and would discuss Wednesday after the Justice Department makes it public.

The investigation, which began weeks after Brown’s killing last August, is being released as Attorney General Eric Holder prepares to leave his job following a six-year tenure that focused largely on civil rights. The findings are based on interviews with police leaders and residents, a review of more than 35,000 pages of police records and analysis of data on stops, searches and arrests.

Federal officials found that black motorists from 2012 to 2014 were more than twice as likely as whites to be searched during traffic stops, even though they were 26 percent less likely to be found carrying contraband, according to a summary of the findings.

The review also found that blacks were 68 percent less likely than others to have their cases dismissed by a municipal court judge. And from April to September of last year, 95 percent of people kept at the city jail for more than two days were black, it found.

Of the cases in which the police department documented the use of force, 88 percent involved blacks, and of the 14 dog bites for which racial information is available, all 14 victims were black.

Overall, African-Americans make up 67 percent of the population of Ferguson, about 10 miles north of downtown St. Louis. The police department has been criticized as racially imbalanced and not reflective of the community’s demographic makeup. At the time of the shooting, just three of 53 officers were black, though the mayor has said he’s trying to create a more diverse police force.

Brown’s killing set off weeks of protests and initiated a national dialogue about police officers’ use of force and their relations with minority communities. A separate report to be issued soon is expected to clear Darren Wilson, the officer who shot Brown, of federal civil rights charges. A state grand jury declined to indict Wilson in November, and he resigned from the department.

Benjamin Crump, the attorney for the Brown family, said that if the reports about the findings are true, they “confirm what Michael Brown’s family has believed all along — and that is that the tragic killing of an unarmed 18-year-old black teenager was part of a systemic pattern of inappropriate policing of African-American citizens in the Ferguson community.”

The report says there is direct evidence of racial bias among police officers and court workers, and details a criminal justice system that issues citations for petty infractions such as walking in the middle of the street, putting the raising of revenue from fines ahead of public safety. The physical tussle that led to Brown’s death began after Wilson told him and a friend to move from the street to the sidewalk.

The practice hits poor people especially hard, sometimes leading to jail time when they can’t pay, the report says, and has contributed to a cynicism about the police on the part of citizens.

Among the report’s findings was a racially tinged 2008 message in a municipal email account stating that President Barack Obama would not be president for very long because “what black man holds a steady job for four years.”

The department has conducted roughly 20 broad civil rights investigations of police departments during Holder’s tenure, including Cleveland, Newark, New Jersey, and Albuquerque, New Mexico. Most such investigations end with police departments agreeing to change their practices.

John Gaskin III, a St. Louis community activist, praised the findings, saying, “Ferguson police have to see the light in how they deal with people of color.

“It’s quite evident that change is coming down the pike. This is encouraging,” he said. “It’s so unfortunate that Michael Brown had to be killed. But in spite of that, I feel justice is coming.”

____

Associated Press writers Jim Salter and Jim Suhr in St. Louis and Alan Scher Zagier in Ferguson contributed to this report.

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Art

Oakland Director Boots Dazzles Once Again in ‘I Love Boosters’

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

Published

9 hours ago

June 10, 2026

bpusa-syndication

Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.

“I feel lonely,” Keke Palmer’s character Corvette says in the first few minutes “I Love Boosters,” the new comedy adventure film from Oakland-based director Boots Riley.

“I wish I could feel lonely,” Naomi Ackie’s character Sade responds. “Try having kids.”

“I Love Boosters” teems with kaleidoscopic colors, sharp playful social critique, otherworldly plot twists, and fast-paced action, but it’s grounded in its main characters’ simple and relatable motivations: They want to be less isolated, and more free to pursue their own creative endeavors.

They’d like to design clothes and run a fashion boutique, but, unfortunately, they’re mostly busy surviving. Corvette and Sade, along with Mariah, played by Taylour Page, hustle and scheme through their brilliant scrappy organized crime group, the Velvet Gang. The gang regularly boosts clothes in the Bay Area and sells them at discounted prices.

Riley portrays the gang in a positive light in “I Love Boosters,” echoing the sentiment and title of a song he recorded 20 years ago with his hip-hop band, The Coup, where he praises boosters for providing poor communities with nice clothes they can afford: like a Robin Hood of the ’hood. But while morally righteous, materially, the gang is troubled. Corvette is haunted by unpaid bills and fears getting kicked out of the building where she squats, a shuttered fast-food chicken joint.

One thing that separates Riley’s film from most others about criminal gangs is that the Velvet Gang’s members work for a living. Theirs isn’t a greedy fantasy of becoming filthy rich, or for one last hit: Boosting is a job that still doesn’t pay nearly enough.

Visually, the film is a mix of psychedelia, afro-surrealism, noir, and perhaps a comic book.

The villain, Christie Smith, played by Demi Moore, an evil genius billionaire and fashion designer who runs the expensive clothing company the gang boosts from. She repeatedly appears on the news to put a target on the Velvet Gang members’ backs. When the gang ends up connecting with those who Christie directly exploits –workers here in the Bay Area, but also those in sweatshops overseas– the fight against Christie can commence; and uncoincidentally, Corvette starts to feel less lonely.

I don’t want to say much about that fight, but it’s delightful. Sci-Fi elements (which appear connected to Marxist theory) enter into the narrative to tie what’s become a pretty scatterbrained story together. Grounded by Palmer’s acting, “I Love Boosters” is a total joy and a refreshing break from the typical narratives we see these days. It’s totally over-the-top, but it knows it is.

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Art

After 10-Year Wait, Fillmore Heritage Center Reopens in San Francisco

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

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10 hours ago

June 10, 2026

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Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.

By Linda Parker Pennington, Special to The Post

Last Saturday morning, the cloudy skies cleared just as the highly anticipated ribbon-cutting ceremony began, marking the reopening of the Fillmore Heritage Center at 1330 Fillmore and Eddy.

The complex – which had once included Yoshi’s Jazz Club, the Lush Life Art Gallery, the Koret Heritage Lobby, a 54-seat microcinema, and the Black-owned 1300 On Fillmore restaurant – shuttered in 2015.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

“The Fillmore is the most important neighborhood in San Francisco’s history for centering Black culture, music, business, and community, and has shaped this City and influenced the entire country,” said San Francisco Mayor Daniel Lurie to the gathering of more than 100 community leaders, business owners, and public officials. “This building reflects the deep roots of the Fillmore. Urban renewal left deep scars that are still felt today. This Center celebrates a strong Black community that continues to shape San Francisco. I am proud to join the community as we reopen the Fillmore Heritage Center.”

Although the previous stakeholders will not be returning to the center, spaces are available for nonprofit organizations and ventures, such as Fillmore native Ericka Johnson’s Honey Art Studio.

“This Center will be an economic engine and a thriving venue that shines a light on the Black-owned businesses in this neighborhood and lifts the entire district,” Lurie continued. “Our City is committed to this community for the long term.”

“We’re excited to collaborate with the City to finally reopen these doors,” said Ken Johnson, a videographer and community leader who’d been lobbying for the reopening of the center. “It’s an opportunity to showcase the entrepreneurship and creative spirit of this ‘Harlem of the West’ and the ‘Rebirth of the Cool,’ grounded in our uniquely gifted Fillmore community.”

This month, through its Office of Economic and Workforce Development, the city will begin renting the building’s noncommercial spaces for pop-up events celebrating local talent, arts, and entertainment primarily centered in the Fillmore.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

1 day ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.