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An Open Letter to Faith and Politics Institute Concerning Bloody Sunday, from Alabama State Senator Hank Sanders

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Hank Sanders

 

 

February 8, 2015,

I appreciate your bringing a group of congresspersons and other dignitaries each year to Selma and other places in Alabama for Bloody Sunday and related events. Every person in a leadership position ought to have this experience so that they may better understand how the right to vote was forged with blood and lost lives and suffering and sacrifice and struggle. Thank you for exposing these dignitaries to this historic and sacred struggle. We welcome you and all. We are especially glad that President Barack Obama is coming for we also invited him and the First Family.

Faith and Politics, I am extremely concerned. I considered writing you on several occasions but held back. However, after Representative John Lewis talked to a reporter, who then contacted me, I had to write. Other leaders of the Bridge Crossing Jubilee have written you in years past, but you never answered a single letter. I do not expect an answer to this letter, so I am making it an open letter.

The Commemoration of the 50th Anniversary of Bloody Sunday is a once-in-a-lifetime event. It should be a time of great unity, but you have shattered that possibility. The great challenges to the right to vote also demand unity. These challenges include the gutting of Section 5 of the Voting Rights Act; the wave of voter photo ID laws, which are modern-day poll taxes; the proof of citizenship laws, which are modern-day literacy tests; and the many and varied other schemes that suppress and deny the right to vote. We should be united, but your actions divide us.

This Commemoration must be more than a celebration. Many workshops and other activities were scheduled for Saturday, March 7th, to forge a more effective effort to restore the Voting Rights Act and expand voting rights generally. Your actions disrupted these critical work sessions.
The reporter I mentioned, Mary Orndorff Troyan, said one of the reasons you wanted a march on Saturday was to ensure that it was a “dignified” march. Faith and Politics, the Bloody Sunday March has been reenacted each year since the seventies. No one has ever said that it was not dignified. Was the Bloody Sunday March not dignified when President Bill Clinton came to Selma in 2000, as a sitting president, for the 35th Anniversary of Bloody Sunday? Was the March not dignified when President Barack Obama came as Senator Obama to Selma on Bloody Sunday in 2007? Was the March not dignified when Vice President Joe Biden came in 2013?

A Competing March

Over the years, many leaders have come to Selma on their own to participate in this sacred pilgrimage – not seeking glory or status. These include members of the Kennedy family, other prominent political and social leaders, and many more. Were the Marches not dignified when these leaders made the pilgrimage to participate in the Bloody Sunday March? Your actions cannot be about the dignity of Bloody Sunday, for if they were, you would not be having another march on a day other than Bloody Sunday.

I recall that some years ago Faith and Politics asked representatives of the Bridge Crossing Jubilee to come to Washington, D.C. to meet. You paid for their tickets, hotel rooms and other expenses, and they came. You proposed taking over the Bridge Crossing Jubilee. In response, we proposed that Faith and Politics co-sponsor the Bridge Crossing Jubilee along with the National Voting Rights Museum, SCLC (Southern Christian Leadership Conference) and other organizations. You said that you would only be a sponsor if you could be the sole sponsor. You conveyed the impression that we were not competent, and that is why you had to do it by yourself. This was not about faith or service or competence. It was about power and politics – and control.

Even though we are volunteers, those of us who have led the Commemoration of Bloody Sunday for 40-plus years have been competent enough not only to accomplish the event each year, but to grow it into the largest Civil Rights Event in the country and, according to a national publication, one of the 100 greatest national tourist events. Your actions do not seem to be about competence but about control, power and politics.

The reporter told me that Congressman John Lewis said that certain unnamed national leaders tried to get into the front lines last year. One of those leaders was SCLC National President Charles Steele. I want to remind you that SCLC was the sole sponsor of the original Bloody Sunday March in 1965 and has been a co-sponsor of the Bloody Sunday March Reenactments since the seventies. The President of this organization certainly has a right to be among those on the front lines. SCLC President Steele told me that last year Faith and Politics tried to stop him and his wife Annette from getting on the front lines. When they entered the lines anyway, Congressman Lewis pointed his finger and said, “This will not happen again. I will get another venue next year.” Now we see what that venue is.

I am sorry to say that the issue of who will be among those on the front lines has recently become a bone of contention. Faith and Politics has insisted that only members of the Faith and Politics delegation be on the front lines. We have insisted that some of the nearly 600 other individuals who were also on the Bridge on Bloody Sunday in 1965 be included. In 2013 when Vice President Biden was here, Faith and Politics wanted to allot only 30 places for survivors of Bloody Sunday with 270 places for members of their delegation, including congressional staff members. When an agreement was worked out that it would be half and half, Faith and Politics then had the Secret Service give virtually every place to members of the Faith and Politics delegation. It seems that you value status, power and money far more than you value blood, sacrifice, struggle and history.

Commemoration of Bloody Sunday is big enough for everyone. It has grown from a few of us crossing the Edmund Pettus Bridge on the afternoon of Bloody Sunday in the seventies to about fifty events over five days each year. Your actions do not seem to be about dignity or competence but about power and politics and control.

In the 17 or so years that Faith and Politics has been coming to the Bridge Crossing Jubilee, not once have you organized a March or contributed in any way. You raise millions of dollars by claiming to sponsor the Bloody Sunday March but never paid for even a chair, a porto-toilet, water or anything else. You never organized other people to come if they were not in your delegation. You just show up and insist on privilege even though you refused to be a co-sponsor because you could not be the sole sponsor. This is about your privilege and power. Bloody Sunday is about sacredness, sacrifice and struggle.

Setting out to Destroy Bloody Sunday

It appears to me that Faith and Politics has set out to not only diminish but to destroy Bloody Sunday. You not only scheduled another march on Saturday in Selma but you scheduled a march and rally in Montgomery on Sunday during the afternoon when the sacred Bloody Sunday March takes place in Selma. It would have been so simple to hold your events in Montgomery on Saturday and join the events in Selma on Sunday. However, the arrogance of power has caused you to try to diminish the sacred Bloody Sunday March and Commemoration and change history.

Faith and Politics, you are not even representative of the struggle. From viewing your web page earlier this year, the makeup of your Board appears to be 14 Whites and two African Americans, including the Chief of Staff of Congressman John Lewis, who is a member emeritus. This is the organization that insisted on being the sole sponsor of the Bridge Crossing Jubilee and the Bloody Sunday events. This is the organization that is insisting on moving Bloody Sunday to Saturday after 40-plus years of commemoration on Sunday. This is the organization that has not contributed anything to organizing these events over the years. Sadly, I do not see the exercise of faith in your actions but only the force of power and politics.

I hope that you will reflect on the facts I have shared in this open letter and on the history of Bloody Sunday from 1965 to the present. It took great faith and courage for all of those nearly 600 people to face the great dangers that awaited them at the Edmund Pettus Bridge in order to fight for the right to vote. It will require great faith and courage today to restore these same rights that were won in 1965 only to be lost in 2013 [Supreme Court decision].
Sincerely,
Hank Sanders
Alabama State Senator

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Oakland Post: Week of May 6 – 12, 2026

The printed Weekly Edition of the Oakland Post: Week of may 6 – 12, 2026

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.


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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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