I'm going home, see my woman...whom I love... Sam Cooke, Chain Gang (1960). Sam Cooke was inspired by a chance encounter with laborers on a Southern highway.
The crackle on the vinyl is the sound of survival. This 1960 Sam Cooke album belonged to my mother. It's weathered, resilient and still singing. 66 years of keeping the rhythm for the TimberMen who built the Southern line. #StarlightandSteel#Lineage
It's Black History Month!🇺🇸
Learn about the ADOS Advocacy Foundation in this interview with founder, Yvette Carnell.
The Critical Mass Podcast is your go-to source for sharp political analysis and insightful commentary on today’s most pressing issues. https://t.co/IcSDIz0zHv
Attempting to have this discussion got #ADOS labeled xenophobic.
If you want to be accepted in liberal circles—and the lucrative speaking circuit—you have to say “diversity is our strength” & deny the impact of immigration on American workers.
Democrats have defined any interrogation of the impact of mass migration as unacceptable speech.
Every #ADOS academic, journalist, commentator & activist who participated in the intentional social shaming & ideological marginalization of the ADOS movement over our *legitimate* concerns about mass migration should be ashamed of their cowardice, stupidity & greed.
Our community & its legion of idiot reporters allowed Robin Rue Simmons to be anointed the “mother of the movement” & make headlines across the country, when not only hadn’t she achieved anything, but she hadn’t added any new thought, strategy, advocacy etc to the reparations movement.
It’s all been so disappointing.
NAARC & N’COBRA have bastardized the reparations movement for years, and they were behind Evanston & several other local reparations initiatives.
So this was a predictable ending for the “Africa Day” crew, because their only goal is Africa worship, not redress for #ADOS.
Their tradition is anchored in African cosplay, and we all shoulder the cost of these unserious people inserting themselves in serious politics.
We breathed life into the reparations movement & these people opposed us at every turn, & to what end?
Absolutely nothing. Bragging rights about how they’re Africans in America & Ase nonsense. It’s unforgivable.
We must start banishing these people from our politics. Block any attempts by them to speak on our behalf. Exclusion is not just important. It’s necessary.
Black History Month must center ADOS! September is for African Immigrant Heritage, June honors Caribbean culture, & October is for Latinos. Yes, let's celebrate our past. But WE MUST work for our future. Donate & join as we build chapters across the US. https://t.co/qoaPm4WqIN
Before R&B, funk, or hip hop—before drum machines and house parties—there was Fats Waller.
His stride piano functioned like a full rhythm section. The left hand laid down bass and chords, the right hand carried swing and melody. That sense of groove powered rent parties and living rooms across Black America and became the feel that later shaped popular American music.
Waller was also highly strategic. He would submit multiple versions of the same song to different publishing companies, allowing them to dispute ownership while he collected his earnings. It was an early example of an artist understanding leverage in the business.