National

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

Published

11 years ago

February 11, 2015

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

Oakland Post

Posts by Oakland Post

Up Next

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

Don't Miss

The New Racists on Campus: Meet the Youth Wing of the White Nationalism Movement

Oakland Post

Click to comment

Art

Oakland Director Boots Dazzles Once Again in ‘I Love Boosters’

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

Published

3 days ago

June 10, 2026

bpusa-syndication

Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.

“I feel lonely,” Keke Palmer’s character Corvette says in the first few minutes “I Love Boosters,” the new comedy adventure film from Oakland-based director Boots Riley.

“I wish I could feel lonely,” Naomi Ackie’s character Sade responds. “Try having kids.”

“I Love Boosters” teems with kaleidoscopic colors, sharp playful social critique, otherworldly plot twists, and fast-paced action, but it’s grounded in its main characters’ simple and relatable motivations: They want to be less isolated, and more free to pursue their own creative endeavors.

They’d like to design clothes and run a fashion boutique, but, unfortunately, they’re mostly busy surviving. Corvette and Sade, along with Mariah, played by Taylour Page, hustle and scheme through their brilliant scrappy organized crime group, the Velvet Gang. The gang regularly boosts clothes in the Bay Area and sells them at discounted prices.

Riley portrays the gang in a positive light in “I Love Boosters,” echoing the sentiment and title of a song he recorded 20 years ago with his hip-hop band, The Coup, where he praises boosters for providing poor communities with nice clothes they can afford: like a Robin Hood of the ’hood. But while morally righteous, materially, the gang is troubled. Corvette is haunted by unpaid bills and fears getting kicked out of the building where she squats, a shuttered fast-food chicken joint.

One thing that separates Riley’s film from most others about criminal gangs is that the Velvet Gang’s members work for a living. Theirs isn’t a greedy fantasy of becoming filthy rich, or for one last hit: Boosting is a job that still doesn’t pay nearly enough.

Visually, the film is a mix of psychedelia, afro-surrealism, noir, and perhaps a comic book.

The villain, Christie Smith, played by Demi Moore, an evil genius billionaire and fashion designer who runs the expensive clothing company the gang boosts from. She repeatedly appears on the news to put a target on the Velvet Gang members’ backs. When the gang ends up connecting with those who Christie directly exploits –workers here in the Bay Area, but also those in sweatshops overseas– the fight against Christie can commence; and uncoincidentally, Corvette starts to feel less lonely.

I don’t want to say much about that fight, but it’s delightful. Sci-Fi elements (which appear connected to Marxist theory) enter into the narrative to tie what’s become a pretty scatterbrained story together. Grounded by Palmer’s acting, “I Love Boosters” is a total joy and a refreshing break from the typical narratives we see these days. It’s totally over-the-top, but it knows it is.

bpusa-syndication

Posts by bpusa-syndication

Art

After 10-Year Wait, Fillmore Heritage Center Reopens in San Francisco

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

Published

3 days ago

June 10, 2026

bpusa-syndication

Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.

By Linda Parker Pennington, Special to The Post

Last Saturday morning, the cloudy skies cleared just as the highly anticipated ribbon-cutting ceremony began, marking the reopening of the Fillmore Heritage Center at 1330 Fillmore and Eddy.

The complex – which had once included Yoshi’s Jazz Club, the Lush Life Art Gallery, the Koret Heritage Lobby, a 54-seat microcinema, and the Black-owned 1300 On Fillmore restaurant – shuttered in 2015.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

“The Fillmore is the most important neighborhood in San Francisco’s history for centering Black culture, music, business, and community, and has shaped this City and influenced the entire country,” said San Francisco Mayor Daniel Lurie to the gathering of more than 100 community leaders, business owners, and public officials. “This building reflects the deep roots of the Fillmore. Urban renewal left deep scars that are still felt today. This Center celebrates a strong Black community that continues to shape San Francisco. I am proud to join the community as we reopen the Fillmore Heritage Center.”

Although the previous stakeholders will not be returning to the center, spaces are available for nonprofit organizations and ventures, such as Fillmore native Ericka Johnson’s Honey Art Studio.

“This Center will be an economic engine and a thriving venue that shines a light on the Black-owned businesses in this neighborhood and lifts the entire district,” Lurie continued. “Our City is committed to this community for the long term.”

“We’re excited to collaborate with the City to finally reopen these doors,” said Ken Johnson, a videographer and community leader who’d been lobbying for the reopening of the center. “It’s an opportunity to showcase the entrepreneurship and creative spirit of this ‘Harlem of the West’ and the ‘Rebirth of the Cool,’ grounded in our uniquely gifted Fillmore community.”

This month, through its Office of Economic and Workforce Development, the city will begin renting the building’s noncommercial spaces for pop-up events celebrating local talent, arts, and entertainment primarily centered in the Fillmore.

bpusa-syndication

Posts by bpusa-syndication

Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

4 days ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.