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Video Released Shows Police Killing Unarmed Man in LA Suburb

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In this June 2, 2013, frame from Gardena Police Department dash-cam video, officers aim their guns at Ricardo Diaz-Zeferino, right, and two friends while investigating a bicycle theft in Gardena, Calif. Moments later police fatally shot Diaz-Zeferino. Hours after a federal judge ordered the release of videos sought by The Associated Press and other news organizations Tuesday, July 14, 2015, a federal appeals court has issued a stay blocking release of the video. (Gardena Police Department)

In this June 2, 2013, frame from Gardena Police Department dash-cam video, officers aim their guns at Ricardo Diaz-Zeferino, right, and two friends while investigating a bicycle theft in Gardena, Calif. Moments later police fatally shot Diaz-Zeferino. Hours after a federal judge ordered the release of videos sought by The Associated Press and other news organizations Tuesday, July 14, 2015, a federal appeals court has issued a stay blocking release of the video. (Gardena Police Department)

BRIAN MELLEY, Associated Press

LOS ANGELES (AP) — Police car camera footage ordered released by a federal judge show a California man disobeying orders to keep his hands up, but with his palms open by his waist when he was fatally shot by officers two years ago.

Police in a Los Angeles suburb fought aggressively to the keep the videos under wraps, but a federal judge unsealed them Tuesday after news media organizations, including The Associated Press, argued the public had a right to see the footage.

The videos shot from two angles provide different perspectives on the last seconds of Ricardo Diaz-Zeferino’s life as he raises and lowers his hands three times and crumples to the street from a hail of gunfire from Gardena officers.

Judge Stephen V. Wilson said the public had a right to see what led the city of Gardena to pay $4.7 million to settle a lawsuit with Diaz-Zeferino’s family and another man wounded in the shooting that followed a botched report of a bicycle theft early June 2, 2013.

“The fact that they spent the city’s money, presumably derived from taxes, only strengthens the public’s interest in seeing the videos,” Wilson wrote in a 13-page decision. “Moreover, defendants cannot assert a valid compelling interest in sealing the videos to cover up any wrongdoing on their part or to shield themselves from embarrassment.”

Against a backdrop of intense public scrutiny of police shootings nationwide, a lawyer for AP, the Los Angeles Times and Bloomberg argued the videos should be unsealed under a First Amendment right to access court documents.

“The Associated Press, joining with other news organizations, believes it’s important that the public has access to videos like this to better understand the actions of their police officers,” spokesman Paul Colford said.

The ruling comes amid public debates over what footage should be made public as police officers and cruisers are increasingly equipped with cameras to capture evidence that can be used against criminals or to hold officers accountable for their own behavior.

Michael Overing, a lawyer and journalism professor at the University of Southern California, said that in addition to being cited in future court arguments, the ruling could help provide guidance as lawmakers grapple with those issues.

“Right now video is being suppressed,” Overing said. “This is going to help open the floodgates so the public can see it … and see if actions are justified.”

Gardena was joined by police chiefs and officer groups around the state in arguing that making such videos public would dissuade cities from employing the technology.

Wilson said that was a political consideration and not for him to judge.

A lawyer for Gardena and its police argued that releasing the footage would create a “rush to judgment” about the officers’ behavior, but Wilson dismissed that idea during arguments Monday. The judge said the public may see the videos and conclude the shooting was justified, which is what prosecutors decided.

Footage shows the final moments of the encounter as an officer yells, “Get your hands up.”

Diaz-Zeferino and two other men stand with their backs to a sidewalk and arms in the air.

Diaz-Zeferino, who was drunk, then lowered his hands and slowly took about five small steps toward police. He spread his arms out with palms open as if to plead with them. Told to put them back up, he complied, then removed his ball cap and lowered his hands as shots were fired.

Footage shot in front of him shows his palms open and facing upward. Footage from a second camera behind two of the officers to the side of Diaz-Zeferino show his right hand briefly swing out of view at his waist as they fire.

The officers said they feared he was reaching for a weapon.

What the videos don’t show is that he wasn’t armed, and witnesses said Zeferino was trying to tell police they had the wrong men.

The stolen bike belonged to his brother. He and the two other men were friends looking for it.

The unlocked bike was swiped outside a CVS pharmacy. Police dispatchers erroneously reported it as a robbery and made it a high-priority call, raising the specter of armed suspects.

Lawyers for Diaz-Zeferino said the investigation into the shooting was tainted because officers were able to review the videos before giving statements, a courtesy not offered to a member of the public involved in a shooting.

Attorney Samuel Paz said he may ask federal prosecutors to investigate whether the shooting was a civil rights violation.

“When the public sees the video and other law enforcement agencies see the video, this is very much a criminal act,” Paz said.

Although the order was stayed by a federal appeals court late in the day, it came hours after the court had released what Wilson said were videos “potentially upsetting and disturbing because of the events they depict,” but “not overly gory or graphic.”

Diaz-Zeferino crumpled to the ground after the gunfire. Eutiquio Acevedo Mendez, who was shot once and injured, toppled to the street and lay still.

Two minutes later, police handcuffed a bloody and limp Diaz-Zeferino. Nine minutes after he was shot, paramedics arrived.

___

Associated Press writer Amanda Lee Myers contributed to this story.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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