Etta James: At Last K-Ci & JoJo: All My Life Whitney Houston: I Will Always Love You John Legend: Stay With You Patti LaBelle: If Only You Knew SWV: You’re Always On My Mind The Isley Brothers: For the Love of You John Legend: You & I Beyonce: Halo Faith Evans: I Love You Four Tops/Whitney Houston: I Believe In You and Me Tammi Terrel & Marvin Gaye/Cheryl Lynn & Luther Vandross: If This World Were Mine Anita Baker: Sweet Love Percy Sledge: When a Man Loves a Woman New Edition: Can You Stand the Rain Rufus & Chaka Khan: Sweet Thing Jill Scott: He Loves Me Nat King Cole & Natalie Cole: Unforgettable Whitney Houston: You Give Good Love Jaheim: Anything Rose Royce: Wishing on A Star Ginuwine: Differences The O'Jays: Stairway to Heaven Mariah Carey: When I Saw You Aaliyah: At Your Best (You Are Love) Dru Hill: These Are the Times Babyface: Every Time I Close My Eye Brian McKnight: Back At One Minne Riperton: Loving You India Arie: Ready For Love Troop: All I Do Is Think of You Prince: Adore Kindred The Family: Where Would I be Chaka Khan: Through the Fire Jagged Edge: Promise Dondria: You’re the One Kevon Edmonds: 24/7 Kem: I Can’t Stop Loving You Stevie Wonder/Luther Vandross/Donell Jones: Knocks Me Off My Feet Tony! Toni! Tone!: Whatever You Want Musiq Soulchild: Dontchange Beyonce: Speechless Seal: Kiss From A Rose Case: Happily Ever After Kem: Share My Life Keyshia Cole: Love Gerald Levert: Made to Love You Musiq Soulchild: Love The Deele: Two Occasions Mawell: Fortunate Xscape: The Arms of the One Who Loves You India Arie: The Truth Tendy Pendergrass: Love T.K.O Kenny Lattimore: For You SWV: Weak Musiq Soulchild: sobeautiful Mariah Carey: Vision of Love Aretha Franklin: You’re All I Need Gladys Kinght & The Pimps: Best Thing That Happened to Me Beyonce: Rather Die Young Luther Vandross: Here and Now Pressure: Love And Affection Heatwave/Luther Vandross: Always & Forever Chaka Khan: Ain’t Nobody John Legend: All of Me Alicia Keys: If I Ain’t Got You Luther Vandross: All The Woman I Need Ruff Endz: Someone to Love You Stevie Wonder: You and I Beyonce: Dangerously In Love Avant & Keye Wyatt: You & I Shanice: I Love Your Smile Maria Carey: Open Arms Musiq Soulchild: Teachme Roberta Flack & Donny Hathaway/Beyonce & Luther Vandross: The Closer I Get to You John Legend: P.D.A. (We Just Don’t Care) Stevie Wonder: Signed, Sealed Delivered (I’m Yours) Atlantic Starr: Always Luther Vandross & Mariah Care: Endless Love Blackstreet: Let’s Stay in Love John Legend: So High Lionel Richie & Diana Ross: Endless Love Whitney Houston: Greatest Love of All Mariah Carey: Underneath the Stars Jagged Edge: Good Luck Charm
The Highlander Research and Education Center is one of the unsung mileposts of the struggle for civil rights. People like Rosa Parks, John Lewis, and Ralph Abernathy refined their organizing skills at Highlander. It was there, in 1957, that a young Martin Luther King Jr. first heard Pete Seeger sing “We Shall Overcome.” On his way to the airport after the anniversary of what was then known as the Highlander Folk School, King proclaimed, “There’s something about that song that haunts you.” Highlander has since moved farther east, but its mission remains the same.
That’s why shortly after the 2016 election, on November 18, several dozen Black Lives Matter leaders selected it as the place to gather.
Top activists in the movement — like Alicia Garza, cofounder of the Black Lives Matter network of organizations (a namesake group), Charlene Carruthers of the Black Youth Project 100, and others — met to privately discuss how to move forward in Trump’s America. Protests had already dominated the news for days. This would be the time for decisive action, undergirded by a clear strategy. Here, in the hills of Tennessee, the activists would come together for a meeting of groups involved in the Movement for Black Lives, an umbrella group of organizations that want the same things, and devise a plan to address the new president, the shock of his election, the law and order he had promised during the campaign, and the devastating blow it all had delivered to generational movements about race and criminal justice policy in the United States. They would devise a plan — like the heroes of the civil rights movement once had decades before.
That good feeling didn’t last long. Few people want to talk about exactly what went wrong — how exactly the meeting devolved. But one problem, according to people who attended or were briefed on the meeting, was pretty simple: The ideas weren’t that good.
Some activists pitched things that had been pitched before. Someone pitched a plan that would require the recruitment of new groups into the fold, and leadership of the so-called resistance. And someone pitched a grand vision: the organization of 1 million black people. This last idea in particular infuriated people inside and outside the meeting. After years of organizing, local activists were cash-strapped, trying to keep their people motivated, and struggling to coordinate with other groups nationally while staying relevant at home. One million black people organized? Organized by whom? Organized for what? And this was the plan?
On top of that — people fumed over this — the meeting had done little to address the structural problems that had dragged down the movement since its meteoric rise from dispersed beginnings to national political influence. Many local activists felt they couldn’t get access to funding, and didn’t know who to take it up with. Organizers felt like they’d been lured in before by the promise of greater collaboration, the sharing of resources, and cultivation of a social community — only to feel left out, especially when it came to the Movement for Black Lives, an umbrella group of organizations that want the same things. Many chafed at the tenet, repeated by the press, that Black Lives Matter was free from hierarchy and instead began to question the existence of tight control exercised by a small group of activists. “The hierarchy was clearer than ever, even though folks are sure there isn’t one on the outside,” said one person briefed on the meeting. For months during the campaign last year, key progressives had watched Black Lives Matter and kept wondering two things many activists on the inside were starting to wonder themselves: What is the movement’s strategy? What is the end goal?
Nobody resolved the structural issues at Highlander. There was no one big plan.
Today is National Tap Dance Day in honor of Bill “Bojangles” Robinson, who was born Luther Robinson in Richmond, Virginia, on May 25, 1878. His father, Maxwell, worked in a machine shop, while his mother, Maria, was a choir singer. After both of his parents died in 1885, Robinson was raised by his grandmother, Bedilia, who had been a slave earlier in her life. According to Robinson, he used physical force to compel his brother, Bill, to switch names with him, since he did not care for his given name of Luther. Additionally, as a young man, he earned the nickname “Bojangles” for his contentious tendencies.
At the age of 5, Robinson began dancing for a living, performing in local beer gardens. In 1886, at the age of 9, he joined Mayme Remington’s touring troupe. In 1891, he joined a traveling company, later performing as a vaudeville act. He achieved great success as a nightclub and musical-comedy performer. At this stage of his career, he performed almost exclusively in black theaters before black audiences.
In 1908, Robinson met Marty Forkins, who became his manager. Forkins urged Robinson to develop his solo act in nightclubs. Robinson took a break from performance to serve as a rifleman in World War I. Along with fighting in the trenches, Robinson was also a drum major who led the regimental band up Fifth Avenue upon the regiment’s return from Europe.
In 1928, he starred on Broadway in the hugely successful musical revue Blackbirds of 1928, which featured his famous “stair dance.” Blackbirds was a revue starring African-American performers, intended for white audiences. The show was a breakthrough for Robinson. He became well known as “Bojangles,” which connoted a cheerful and happy-go-lucky demeanor for his white fans, despite the nearly polar-opposite meaning of the nickname in the black community. His catchphrase, “Everything’s copacetic,” reinforced Robinson’s sunny disposition. Although he worked regularly as an actor, Robinson was best known for his tap-dance routines. He pioneered a new form of tap, shifting from a flat-footed style to a light, swinging style that focused on elegant footwork.
Robinson’s fame withstood the decline of African-American revues. He starred in 14 Hollywood motion pictures, many of them musicals, and played multiple roles opposite the child star Shirley Temple. His film credits include Rebecca of Sunnybrook Farm, The Little Colonel and Stormy Weather, co-starring Lena Horne and Cab Calloway. Despite his fame, Robinson was not able to transcend the narrow range of stereotypical roles written for black actors at the time. By accepting these roles, Robinson was able to maintain steady employment and remain in the public eye. In 1939, at the age of 61, he performed in The Hot Mikado, a jazz-inspired interpretation of Gilbert and Sullivan’s operetta. Robinson celebrated his 61st birthday publicly by dancing down 61 blocks of Broadway.
Robinson was married three times. His 1907 marriage to Lena Chase ended in 1922. He married his second wife, Fannie S. Clay, in 1922. Clay served as her husband’s manager and assisted him in founding the Negro Actors Guild of America, which advocated for the rights of African-American performers. Clay and Robinson divorced in 1943. In 1944, he married Elaine Plaines. Robinson and Plaines were together until Robinson’s death in 1949.
Bill Robinson was involved in baseball as well as theater. In 1936, He cofounded the New York Black Yankees team, based in Harlem, with financier James Semler. The team was a part of the Negro National League until 1948, when Major League Baseball first integrated racially.
Despite earning millions during his lifetime, Robinson died poor in 1949, at the age of 71. Much of his wealth went to charities in Harlem and beyond before his death. Robinson’s funeral, arranged by longtime friend and television host Ed Sullivan, was held at the 369th Infantry Regiment Armory and attended by thousands, including many stars from the entertainment industry. A eulogy by Adam Clayton Powell Sr. (father of Congressman Adam Clayton Powell Jr.) was broadcast over the radio. Robinson was buried in the Cemetery of the Evergreens in Brooklyn, New York.
Robinson remained a well-known figure after his death, particularly in dance circles. In 1989, a joint congressional resolution established National Tap Dance Day on May 25, Robinson’s birthday. Additionally, a public park in Harlem bears Robinson’s name—a way of honoring his charity contributions and participation in the neighborhood’s civic life.
So I just gonna make this crappy little post just saying some stuff from More than Meets the eye 43……the sitcom one….ok so this issue was great like just look at the holoavatars if you haven’t seen them yet theyre all great im just pointing some moments i really liked….such as
Luther (Idris Elba) Nightbeat, Young Guy Rodimus and Best Girl Nautica speaking of Nautica
She tried to tickle Megatron.
He has a cane Im sorry I know he ditches it right away but still I love it.
Also Cyclonus looking classy as all hell bringing it home with the driest of humor.
Also on a side note the more and more i see of swerves holomater the more i want to cosplay it
It is well to remember that the majority of men have never invented the device of beating children into submission. Some of the American Plains Indian tribes were (as I had an opportunity to relate and to discuss twenty years ago) profoundly shocked when they first saw white people beat their children. In their bewilderment they could only explain such behavior as part of an over-all missionary scheme–an explanation also supported by the white people’s method of letting their babies cry themselves blue in the face. It all must mean, so they thought, a well-calculated wish to impress white children with the idea that this world is not a good place to linger in, and that it is better to look to the other world where perfect happiness is to be had at the price of having sacrificed this world. This is an ideological interpretation, and a shrewd one: it interprets a single typical act not on the basis of its being a possible cause of a limited effect, but as part of a world view. And indeed, we now beat our children less, but we are still harrying them through this imperfect world, not so much to get them to the next one as to make them hurry from one good moment to better ones, to climb, improve, advance, progress. It takes a particular view of man’s place on this earth, and of the place of childhood within man’s total scheme, to invent devices for terrifying children into submission, either by magic, or by mental and physical terror. When these terrors are associated with collective and ritual observances, they can be assumed to contain some inner corrective which keeps the individual child from facing life all by himself; they may even offer some compensation of belongingness and identification. Special concepts of property (including the idea that a man can ruin his own property if he wishes) underlie the idea that it is entirely up to the discretion of an individual father when he should raise the morality of his children by beating their bodies. It is clear that the concept of children as property opens the door to those misalliances of impulsivity and compulsivity, of arbitrariness and moral logic, of brutality and haughtiness, which make men cruder and more licentious than creatures not fired with the divine spark. The device of beating children down–by superior force, by contrived logic, or by vicious sweetness–makes it unnecessary for the adult to become adult. He need not develop that true inner superiority which is naturally persuasive. Instead, he is authorized to remain significantly inconsistent and arbitrary, or in other words, childish, while beating into the child the desirability of growing up. The child, forced out of fear to pretend that he is better when seen than when unseen, is left to anticipate the day when he will have the brute power to make others more moral than he ever intends to be himself.