tavis: good evening. from los angeles, i am tavis smiley. first up tonight, a conversation with actor and activist danny glover about a unique project called "the black power mixtape." there were several people interviewed, including angela davis and stokely carmichael. this opens in l.a. on friday. also, tori amos is here. later on, a special performance. we are glad you could join us. actor danny glover and singer

tori amos. >> every community has a martin luther king boulevard. it's the cornerstone we all know. it's not just a street or boulevard but a place where wal- mart stands together with your community to make every day better. >> nationwide insurance supports tavis smiley. with every question and answer, help tavis improve financial literacy and remove obstacles to economic empowerment one conversation at a time. nationwide is on your side. >> and by contributions to your pbs station from viewers like you. thank you. kcet public television] by made possible kcet public television] tavis: it is always a pleasure to welcome danny glover to the

program. it is called "the black power mixtape 1967-1975," and the film opens in l.a. this friday. here are some scenes from "the black power mixtape." >> dr. kaine believed this. his major assumption was that if you were nonviolent, if you suffer, your opponents will see your suffering and will be moved to change his heart. that is very good. he only made one fallacious assumption. in order for nonviolence to work, a conscience is needed. united states has none. tavis: if you when i were just talking about the first time you

met stokely. what do you remember about meeting him? >> i just recall the self confidence. i remember meeting three about the same time. some have come back to san francisco and settled there. some of them arranged this meeting. a lot of us were young students, 20 years old, 21 years old. the most terrific kind of violence in the south, experiencing terrorism at that particular point in time. simply organizing people to vote, in mississippi and alabama and all of the south. tavis: there are so many things

that struck me about this, not just because danny glover is my friend. i see a lot of stuff. i do not say that often. i should tell you. the impact it had. i was in new york a week or so ago, and i was having lunch with my friend and another, and the three of us finish lunch, were walking down the street, and we walked into the great opera diva, and there we were standing on the street corner talking, so a crowd gathers, and we were talking, there was picture- taking, and then i looked up and saw the movie theater, and i had the movie on my list to go see any way before you came on my show. and i said, "why do we not go and see this moving?" and one of my friends had his son there.

i came out of their levitating. it was the most uplifting, inspiring, educational thing i have seen in a very long time, and i was sitting next to my friend's son in the movie theater. he was a teenager, and his eyes, danny, they were wide open, watching and taking all of this in. i wanted to say to you that i thought i loved, i thought i respected stokely carmichael until i saw this, and my esteem of him is off the charts now. >> you have to remember, when these guys went to the south, they were 17 years old, 18 years old, and they became involved. very interesting, because when people talk about the movie, and you mentioned the black power movement, you talk about the movie with a sense of publicity around the violence, but when you think of it, it is a re-

imagining of democracy. what the black panther party's were talking about. -- parties were talking about. tavis: free lunch programs. >> self-defense. there was a whole wave in the early mid-1970s where groups of citizens were getting together, trying to have some sort of forum. remember, we're talking about 1967, 1965. 1967 detroit. newark. the civil rights movement that these guys were involved with was in the south. now, the northern cities begin to explode, for righteous reasons, because there were laws passed and everything else.

manifesting themselves and changing people's lives in the northern cities. tavis: stokely was moving and powerful, but i was riveted when i sat back and watch that interview with angela davis while she was on trial -- when i sat back and watched that interview. she opened up. >> she talked about violence. tavis: and she goes into her home backstory, about growing up in birmingham. >> it is a recap oculists -- a us. with violence. i was in mississippi just a couple of months ago. and one of the guys takes me to

the site and tells me what happened, and it seems they uncovered a body. they shot him and brought him back. is when they dredged the streams and rivers, they found 39 bodies of black men. that is the story. that is the other story. that is not the headline. that is what is lost in the systemic violence that black people had in the black community at that time. so those are the kinds of things, that you understand what is happening in oakland, and they came together and formed the black panther party. it is just as powerful, i believe, just as powerful as the

montgomery bus incident. the contradictions and finding some way to understand the contradictions that you live in an dialectical approaching an analysis of the -- and dialectically approaching and analysis of that. it is most dangerous. dr. king talked about, beyond vietnam, a moral revolution, violence, racism, materialism. he talked about all of those things and got attacked viciously when he talked about all of those issues there. the current book "the community of chaos."

his last book. tavis: the king speech, given at the riverside church. we go see this movie one week or so ago on a saturday. the night before, i had been with dr. west inside riverside for the 40th anniversary program celebrating the uprising in attica, and attica was in the film. what they were fighting for in that era, for respect and dignity. just at a program last night celebrating the anniversary of attica. and the sweetest journalists -- swedish journalists did a good job. >> receptive in some ways to what is happening. more about understanding what was happening as opposed to demonizing it and criminalizing

it. there was an attempt to criminalize it. they talked to people when they came to europe. there was a moment when dr. king and harry belafonte were with the swedish king. they said they could raise money for the movement there. the swedes were generous in raising money and everything else. the spirit of what was happening there was extraordinary. so you take this kind of understanding of the movement and get another picture of what was happening in the movement. this was in the archives. in the archives. some of this had been shown one time. tavis: i just have one minute to go. i love this project. it had been buried for years. how did you get it?

>> what happened, they came to us. the director, goran olsson, came to us. and there was my partner who said, "danny, you have got to see this stuff." june 2009. i was shooting a swedish movie there. we sat down and talk for hours about this material. the first thing, i said you had to put this in some sort of context. talking about my maturation as a man. involved at a strike at san francisco state that lasted five months that resulted in the african studies program. voices liked stokely and angela. i worked with a program at sacred heart church in san francisco. all of these things were

important. how we contextualize it. tavis: whatever you have thought about the black power movement, throw it all out of your head and see this project. you have to see this. it will fundamentally, i think, as danny said, change the way you think about this, and democracy in america. i highly, highly recommended. i have to tell you, of all of the good work you done, i cannot find a language to thank you for bringing this to our attention. i appreciate you, man. "the black power mixtape" is coming up. please welcome tori amos to our program. she is out with a new cd.

"night of hunters." but now, some from the song "carry." ♪ here i will carry, carry, carry you ♪ tavis: i was looking for your daughter. i know she is in there. your daughter is part of everything you do almost. >> she is, and she was developing this character with maine. she would say to me, in her

british accent, she would say, "i do not know why grownups do not solve their problems before it is too late," and i thought, let's make this character sort of the sage being. tavis: how much does this have to do with your relationship with your daughter? >> she is a huge muse. she teaches me so much. we are very close. my nieces and nephews also. it is a very close family in that way. i guess my husband is a muse, as well. i am singing a bit about him. tavis: trying to find the right way to phrase this, would you accept reinvention? >> i accept that. i think because i came from the

classical tradition, that has been in my work, but these are variation on classical themes, so the themes are from some of the iconic masters from classical music. tavis: when you say "a variation on classical themes," what does that mean, for those watching? >> it means that i messed with a masters. tavis: even if you are tori amos, you are not to mess with the masters. >> women have not been treated so well, so i thought if someone is going to do that, it needs to be a red head. tavis: i have to go bad. when you say that women have not been treated that well in this

genre, what do you mean about that? >> they have not been giving opportunities -- been given opportunities, and it is still a boys club. there have been great strides made, and many women have been working to this -- working for this in rhythm-and-blues and jazz and pop music, rock, as well. musical theater. i am talking about composers. i am not talking about first chair violin or cello, because they are happy to have women being performers of men's ideas, but when the woman is the architect, stop, no. tavis: the easy answer, and i do not mean to -- i am trying to dig into why you think artistically there is a push -- i am trying to get into what you

think artistically there is a push like this? -- what you think that? that. >> i really do not know. in the film scoring world, it has been very much a boys club, and some of those boys are my good friends, but i do think it was time in this century. deutsche grammophon approached me. "you had better understand a bit about narrative, so what about doing this based on classical themes?" you may want to be a hotbed and go hide under a rock if you get it wrong -- you may want to be a

hobbit. tavis: how much of a risk is this? >> it is a huge risk. i have accomplished some things in my world, but i started really thinking about the idea of storing and messing with -- the idea of story and messing with the masters. i grew up new listening to them, so they are close to me. tavis: when you say "mess with the masters," how do you approach that >> a delicate recklessness. one of the conditions is reams and reams of material. i need endless amounts of classical music. i understand that every waking hour before recording, it would

be completely about designing and building, and it was really about targeting the themes, and these original seems that i felt could be expanded upon, and do not think that i think the originals are not perfect in their own way. they are perfect in their own way. but i had to conceptualize how i was going to approach it, and they were the seed. the men, they were the egg. i had to penetrate the past and take it to the 20th century. my husband said, "as long as they are dead, do what everyone -- to whatever -- do whatever you want." tavis: the new work from tori

amos is called "night of hunters." good to have you on. up next, a performance. stay with us. we have the long-awaited cd. here is tori amos with "carry" from "night of hunters." ♪ good night, and keep the faith. ♪ handlove hold my

help me see you with the dawn that those that have left are not gone but they carry on as stars loong down as nature's sons and daughters of the heavens you will not ever be forgotten by me in the procession of the mighty stars

here i will carry, kerry, carry you ♪ ♪ you have touched my life so that now cathedrals of sound are singing, are singing

the waves have come to walk with you to where you live in the land of you you will not ever be forgotten by name -- me in the procession of the mighty stars your name is song and tattooed -- is sung and tattooed now on

my heart here i will carry, carry, carry you i will carry, carry, carry you ♪ [applause] >> for more information on today's show, visit tavis smiley at pbs.org. tavis: hi, i'm tavis smiley. join me next time. a conversation with best-selling author ron suskind. that is next time. we will see you then.

>> every community has a martin luther king boulevard. it's the cornerstone we allit's not just a street or boulevard but a place where wal-mart stands together with your community to make every day better. >> nationwide insurance supports tavis smiley. with every question and answer, help tavis improve financial literacy and remove obstacles to economic empowerment one conversation at a time. nationwide is on your side. >> and by contributions to your pbs station from viewers like you. thank you. [captioning made possible by kcet public television] >> be more. pbs.dwí well, luckily for me, >> be more.

they brought this to me because it's furniture-- at least, it's small furniture. it's bigger than treen, or it doesn't quite fit into that, and it's carved wood in the most wonderful style-- - a mystery object so far. - yes. i want to look at the stand in more detail. so tell me what you think it is, anyway. - it just got a bit of black glass in there-- - i have no idea. i've asked lots of people for several years - and they have no idea what it is. - really? i thought i'd bring it along here today to see if you could throw any light on it. i'm very glad you did. how did you find it? where did you find it? it was in a box of goodies that belonged to my former husband - and i just had it restored. - whoever did it is to be commended because he did a first-class job-- it's what i would call sympathetic restoration.

but the fineness of this is reminiscent of the bushey school of art. um, herkomer is the man responsible for leading that movement. we look under here, these lovely big fat fleshy leaves which are beautifully carved-- look at the kick in that scroll. and then when you come down here, you've got this sort of tudoresque style with the finest possible little flowers. and each of those panels is different. i mean, they're absolutely charming. somebody might have suggested, because this is black glass, that it might be for looking at eclipses. but in fact it's a claude glass, named after claude lorrain, the artist. okay? and it is for an artist to hold up to create to the view of his picture. it's an illusionary thing. - gosh. - and if you look in here, - can you see-- - yes.

now can you see the background? can you see the trees? - yes. - right. now there's a perfect oil painting. and that's what he would have in his mind to paint. it clarified the vision. fabulously interesting! beautiful object! just wonderful. - woman: yes. - there. there it is-- - mystery object solved. - wonderful. now valuewise-- very difficult. its value wouldn't relate to its extreme rarity and interest, but to a collector today anything between £800 and £1200, - that sort of price range. - gosh. oh, yes! i know-- i've got four people lined up here who would like to buy it. yes yes.