richardmurray

Scott Simone Flack 02/24/2025 CHECK OUT ALL THE MUSIC AT THE LINK BELOW https://aalbc.com/tc/topic/11505-hazel-scottnina-simoneroberta-flack/ Deviantart Dreamup Prompt: triptych, left panel is 1960s style nina simone playing a piano, center panel is 1970s style roberta flack playing a piano, right panel is 1940s stlye hazel scott playing a piano artstyle dreamup aspect ratio: 16:9 prompt strength 7 negative prompt: dull, poor lighting, multiimage, multi image Deviantart Dreamup Prompt: nina simone, roberta flack, hazel scott artstyle dreamup aspect ratio:4:3 prompt strength 7 negative prompt: none

Everybody black love's roberta flack. Her first album's first song is written by a Black man , the odd thing is, the album became financially viable because it was used in the Clint Eastwood film Play Misty for Me which is a psychological thriller, specifically the song "the first time I ever saw your face", he only spent two thousand dollars for the rights COMPARED TO WHAT I love to lie and lie to love I'm hangin' on they push and shove Possession is the motivation That is hangin' up the goddamn nation Looks like we always end up in a rut Everybody now Tryin' to make it real compared to what Slaughterhouse is killin' hogs Twisted children killin' frogs Poor dumb rednecks rollin' logs Tired old ladies kissin' dogs I hate the human love of that stinking mutt I can't use it Tryin' to make it real compared to what President he's got his war Folks don't know just what it's for Nobody gives us rhyme or reason Have one doubt they call it treason We're chicken feathers All without one nut goddamn it Tryin' to make it real compared to what Church on Sunday sleep and nod Tryin' to duck the wrath of God Preachers fillin' us with fright They all tryin' to teach us what they think is right They really got to be some kind of nut I can't use it Tryin' to make it real compared to what Where's that bee and where's that honey Where's my God and where's my money Unreal values a crass distortion Unwed mothers need abortion Kind of brings to mind old young King Tut He did it now Tried to make it real compared to what Tryin' to make it real compared to what Songwriters: Gene Mcdaniels. The First TIme I ever saw your face, written by Ewan Mccoll the end credits to the film sudden impact, i admit, i like clint eastwood as an actor or director but i have never ben a fan of cop films or shows. he had to request this, the studios didn't want it, it shows how film studios essentially blockaded black artist from soundtracks even though black artists were financially successful or popular in the field Her A capella Oh Freedom https://youtu.be/kVvqvTzR94c?t=242 WHERE IS THE LOVE Where is the love? Where is the love? Where is the love? Where is the love? Where is the love? Where is the love? Where is the love? Where is the love? You said you'd give to me Soon as you were free, will it ever be Where is the love? You told me that you didn't love him And you were gonna say goodbye But if you really didn't mean it Why did you have to lie? Where is the love? You said was mine all mine, till the end of time Was it just a lie Where is the love? If you had, had a sudden change of heart I wish that you would tell me so Don't leave me hangin' on the promises You've got to let me know Oh, how I wish I never met you I guess it must have been my fate To fall in love with someone else's love All I can do is wait That's all I can do Yeah, yeah, yeah Where is the love? Where is the love? Where is the love? written by Ralph MacDonald and William Salter FEEL LIKE MAKIN LOVE [Verse 1] Strollin' in the park Watchin' winter turn to spring Walkin' in the dark Watchin' lovers do their thing [Hook] That's the time I feel like making love to you That's the time I feel like making dreams come true, oh baby [Verse 2] When you talk to me When you're moanin' sweet & low When you touch me And my feelings start to show, show, oh [Hook x2] That's the time I feel like making love to you That's the time I feel like making dreams come true, oh That's the time I feel like making love to you That's the time I feel like making dreams come true, oh baby [Verse 3] In a restaurant Holdin' hands by candlelight Wanna touch you Wantin' you with all my might, yeah [Hook x2] That's the time I feel like making love to you That's the time I feel like making dreams come true, oh That's the time I feel like making love to you That's the time I feel like making dreams come true, oh baby written by Eugene McDaniels THE CLOSER I GET TO YOU The closer I get to you The more you'll make me see And giving me all you've got Your love has captured me Over and over again I tell myself that We could never be more than friends All the while inside I knew it was real The way you make me feel, oh I'm lying here next to you (oh, baby) And time just seems to fly, right over, right over, right over I'm needing you more and more, more, baby, more, baby, more So, let's give love a try Hey, sweeter than sweeter love grows And heaven's there for those Who fool the tricks of time And in our hearts the love we find True love In a special way, oh, baby, baby, baby The closer I get to you The more you make me see (all that I make you see, yeah) Pull me closer Sweet as the gravity I wanna be close to you, baby Sweet as the gravity, oh Sweet as the gravity, yeah, yeah, yeah Sweet as the gravity I want to be close to you Sweet as the gravity James Mtume and Reggie Lucas TOnight I celebrate my love for you, written by Gerry Goffin +michael masser Roberta Flack is amazing, she doesn't have one song in any of her albums written by her exclusively. She is a very nice person. She gave so many black writers opportunity.

THE DISAPPEARANCE OF MISS SCOTT MY THOUGHTS I love that Billie Holiday set up Hazel Scott to have a huge gig, she saw her talent and protected her. Funny how Adam Clayton Powell wanted to go to Congress before he married Hazel Scott, in his mind she was bigger than him. I quote Hazel Scott"The Fighters For Freedom Need Encouragement..." Powell should had stood up to the black church and demanded his wife be the first lady of the church and play nightclubs. MLK jr said the first time he sat in a non segregated concert in the south was during a Hazel Scott concert Max Roach on Drums, Charles Mingus on Bass was the band for the Hazel Scott show. Lena Horne/Langston Hughes/Hazel Scott Adam Clayton Powell jr was correct that she couldn't win but he needed to figure out how to help her. In the end of the day he was the husband of Hazel Scott for me. I quote Hazel Scot: "What you thought was commanding was mere bullying ... forever was very short" Her son said she enjoyed performing in Europe, the audience was better, they knew music better. I paraphrase Hazel Scott: "I was performing overseas, and just as things were getting better, I had to come back... I have a terrible temper, and I make a very poor doormat" Adam Clayton Powell jr is smarter than he looked, he realized Hazel Scott was tired of the USA, I love her. I paraphrase Hazel Scott:"My years out of America was much needed rest... My paris is like the very first time you realize you are in love" It's funny, I knew about Hazel Scott being from Trinidad, a legendary pianist, first black person with their own show, but I never knew she tried to commit suicide. Adam Clayton Powell jr is a legendary Black leader but like Mandela with Winnie , I am not happy with him as a man. She is correct, one big problem with the youth movement in the black populace in the 1960s and i argue with black musical artist in the 1960s was how little they connected with black artists of the 1940s and 1950s. You are a superstar in the 1960s why can't you make a album with all these black musical legends of the 1940s and 1950s ahhh come on. I love her, when she said :"I have been brash my whole life" SOME MUSIC OF HAZEL SCOTT Round Midnight from the "Piano Essentials" album from Hazel Scott https://www.youtube.com/watch?v=BU2QFaH6yc4 Hazel Scott album "Relaxed Piano Moods" https://www.youtube.com/playlist?list=PLarS3CmQuEHuY1S2v3YE8MwOoqOtXyu8E Swinging the Classics album, Haze Scott https://youtu.be/iFHIAhBMEWY?si=ASFMg0H83VbyFrIc UNIFORM RESOURCE LOCATOR https://www.pbs.org/wnet/americanmasters/hazel-scott-documentary/35137/ VIDEO TRANSCRIPT ♪♪ -Just a minute. Who do you want to see? -I'm Hazel Scott. We're here for the audition. -Oh, Miss Scott. Yes, they're waiting for you. Go right in. ♪♪ -It's always bold for an artist to say that they want to step on the front line or be in the back of the line that urges the crowd to move forward. And Hazel was always ahead of this curve, too. -When I think of Hazel Scott, I think of her as a pianist, think of her as an actress, think of her as a singer, think of her as an activist. And you add all those things up, she's absolutely unique. ♪♪ -You have someone, some 70, 80 years ago, who challenged the way blacks were portrayed in media, in Hollywood. -She's at the forefront of what would happen in later decades with the civil rights movement. -There had never been a black performer who had their own show ever in television. And here's this glamorous black woman who's breaking all of these barriers with this one TV show. -♪ Let me sing a lullaby ♪ ♪ A lullaby ♪ ♪ Of Birdland ♪ -She had incredible confidence, and that would sometimes get her in trouble. -♪ Lullaby of Birdland, that's what I ♪ -She was targeted because of her outspokenness on civil rights. -♪ ...could there be ways to reveal ♪ -She ripped them to shreds. And it cost her everything. -If you fight the establishment, you're not very popular with it. -Meeting will come to order. -And everything is done to remove you from public memory. -♪ And there's a weepy old willow ♪ ♪ He really knows how to cry ♪ -Well, I'm kind of embarrassed to even say this. But the first time I really heard of Hazel was during Alicia Keys' tribute at the Grammys when she was playing the two pianos. [ Pianos playing ] -I've been thinking so much about the people and the music that have inspired me, and I want to give a shout-out to Hazel Scott, 'cause I always wanted to play two pianos. ♪♪ -I spent the last 15-some-odd years learning about music, and this was the first time I ever even came across her just by randomly seeing her video online. And she just blew my mind. -And I think that that really speaks volumes to what this documentary is really about. It is always just so distressing to me the amount of hidden figures that we have within black America and its history. ♪♪ [ Applause ] [ Down-tempo piano music plays ] ♪♪ ♪♪ ♪♪ -After my mother died, in her apartment, we discovered legal pads. It must have been 12, 15 legal pads full of notes about her life, about her friends, about those who were not her friends. She was simply writing down things as she remembered them or as she experienced them. -They say I'm impossible. I won't conform. I've been heckled by some people who find it difficult to relate to a woman who insists on being herself. A great many misconceptions are floating around, and I'd like to clear them up. I think the time is right for me to say a few well-chosen words on the subject of Hazel Scott. ♪♪ [ Applause ] -"Dial M for Music" presents Hazel Scott. And today's host, Father Norman J. O'Connor. -After more than five years in France, Hazel Scott is at last back home, and we're delighted to have her and to welcome her to "Dial M for Music." Where did you come from originally? -I was born in Trinidad. -One of those guys. -I'm a West Indian, yeah. [ Laughs ] ♪ Light among you ♪ ♪ Now your name gone abroad ♪ -She always loved Trinidad. She left Trinidad when she was 3 years old, but she always thought of it fondly. -Hazel was born into a very musical household, growing up with calypso music on the street and classical music in the house. -I'd really like to go back a little ways and -- quite a way, actually, and ask you how you got started. ♪♪ -♪ Take me, take me ♪ ♪ Handle with care or break me ♪ -You know, they tell me I used to use my potty chair. I'd sit on the floor and play on the potty chair. And so -- -Now, that's a new one. -[ Laughs ] I had to be young, right? My mother was a teacher of piano, and it's a little sad because she was preparing to be a concert pianist. She didn't know until she actually concertized for the first time that her wrists couldn't hold up for an entire concert. They were too small, and she said, "Well, if they won't hold up, they won't hold up. No tragedy. I'll just have to teach." -What tunes did you play then? -Because it was Trinidad. I started playing all the popular songs of the day, you know, all the little calypsos. And then, of course, I couldn't reach the pedals, so it was all very percussive. -There's a picture of her at age 3, and she has this expression on her face that's as if, you know, "Deal with me. I'm here." There she is at age 3. It's already there. -♪ You'll love the lady from Trinidad ♪ -You started when you were about 5, didn't you? -No. -Didn't you? -I was a vet when I was 5. I started playing at 2... -You started before that? -...and playing in public at 3. -My golly, and you were, I guess in a professional sense, 5. So you have been at it for a while. -Mm-hmm. I was terribly secure. I was very fresh. I think a child prodigy is a -- is a little monster. I was. ♪♪ -Her mother moves her to Harlem early in the '20s. It's the height of the Harlem Renaissance. And she's growing up in this community where there are artists, musicians, writers, poets, politicians, intellectuals. ♪♪ -You had black businesses. You had entrepreneurs. You had a black professional class. You had a working class. -An incredible, uh, powerful, contagious, electrifying blackness that was being shared, promoted, articulated, and promulgated from pulpits to street corners. -You had the Cotton Club, where Duke Ellington is performing. You had so many musicians that she could surround herself with that could help nurture her talent as a child prodigy. ♪♪ -Alma became her teacher and cultivated the gift. She always said that her mother was the single most important person in her life. -Alma was a proud West Indian. She never accepted the idea of segregation and taught me to have nothing but contempt for its practitioners. She was fond of saying, "Let's see just how inferior we really are." -How about your dad? What was he doing with us? -He's a square. My father's terrible. He was an academic sort of man. He -- Well, he taught English, you know. And he had to be very -- Oh, he hated my English. My English was always incorrect. My grammar made him just cringe. -Her father was there for a while, but the family was estranged. So when he would come to visit Hazel at the family's brownstone, um, instead of taking her to the park or, you know, to the zoo, he would take her to Garvey meetings at Liberty Hall in Harlem. She's 4, 5, 6 years old and listening to all of these speeches about black uplift and civil rights and social justice and what his aspirations were for his people. And that was her first introduction to sort of a political consciousness that stayed with her throughout her life. ♪♪ -When I came here, I started playing in public immediately, all little concerts and things. Then when I was 8, my mother took me to Juilliard, 'cause she said, "I can't teach you anymore." -Hazel was about 8 years old. Alma marches her into Juilliard and says, "You need to hear my daughter play the piano." They said, "Well, students have to be 16." She goes, "No, you need to hear her." -I had the Rachmaninoff Prelude in C-sharp minor. I couldn't stretch an octave. I could only reach six notes. So I had redone all the harmonies so that, you know, I could do it with six notes instead of eight. And suddenly the door bursts open, and here's this man in an absolute rage. He says, "Who is paraphrasing Rachmaninoff?" And it was Walter Damrosch. -How did you do it? How did you paraphrase it? -Instead of... [ Piano plays ] I did that. I made the six. -Oh, wow. [ Piano playing ] -I put -- I put the sixth. He was furious. Then he said, "Oh." And he said, "Alright, go over there." He started training me immediately. -Rachmaninoff, it starts with a kind of space. Bom...bom...bom. Right? Like, it just starts there [ Piano playing ] Rachmaninoff's C-sharp minor prelude is one of the most pivotal pieces of piano history. And it's difficult. It's a difficult piece to play. Right? So the hands are going like this. Unh, unh, wah, wah. All on top of each other. So her 8-year-old hands can't quite do that. So she does a paraphrased version to play it like this. Something like this. ♪♪ ♪♪ So much more soulful, actually, to play it like that. -My mother was a musician. She was a pianist. And she taught herself how to play the tenor saxophone. And she formed an all-jazz band. -Is that right? -Yeah. -Was this here in the States at the time? -Sure, sure. -Here in New York? -Mm-hmm, and I used to, uh -- After school, I'd go play with the band. They couldn't get rid of me. I was hanging around, you know. -You had the mother playing jazz saxophone. You had the little daughter playing piano, and the two of them just became a force of nature up in Harlem at the height of the Harlem Renaissance. It was the two of them against the world. -Alma starts to develop a relationship with a number of all-female bands that were very popular at the time. And then she creates a band of her own that is all women. Her mother being part of the music community at the time, her mother also being an incredible cook, the door was always open at the Scott family residence to Billie Holiday and Lester Young, Art Tatum and Fats Waller. -♪ Got my fingers crossed ♪ ♪ Not that I'm superstitious ♪ ♪ I'm afraid it's too good to be true ♪ -Well, my idols were Fats Waller, Art Tatum, of course. Well, Art Tatum was papa daddy. -To be sitting as a young pianist, and then you see these artists sit at the same piano you practice on and all of a sudden make it sound like it's, you know, falling diamonds from the sky. ♪♪ -It's in her mother's band that Hazel starts to figure out how to work the stage, the stagecraft of her career. She's a bit of a ham, and her mother has to kind of, like, scold her and bring her back from trying to steal the spotlight, because you're part of a band. -Her mother had upped her age at the local musicians' union so that she could perform at jazz clubs. -♪ I'm not attractive, not so well known ♪ ♪ Not even active when we're alone ♪ ♪ I've got a man ♪ -For a 15-year-old girl, 52nd Street was a miracle. To be playing the piano between band sets was to be the lowest one on the totem pole, but it allowed one to be present at some fairly exciting goings-on. -She's on 52nd Street playing as an intermission pianist, and the headliner was Frances Faye, the vocalist. She started playing different jazz standards, and then every time she would start a song, the waiter would come and whisper in her ear, "You can't play that. Frances Faye -- Miss Faye does that in her show." So then she'd start playing another tune. They said, "No, you can't play that, either. Miss Faye does that in her show." He did that three or four times. -So finally I sat there one night and I said, "She is really giving it to me. How can I get her?" I said, "I know how. I'll do the Bach inventions, the two- and three-part inventions, and I'll syncopate them and see if she does that in the show." -Do a little bit of what you did. [ Piano playing classical music ] -I'd play it all the way through straight, and then I'd go... [ Piano playing up-tempo classical music ] You know, up, really up-tempo. And people started looking around, and she looked bewildered. My mother hated it because she was a purist. She liked her jazz straight, and she liked her classics straight. And she said, "What are you doing?" And I said, "Well, this is self-defense." ♪♪ -And that began her start of swinging the classics. -One of the things that strikes me about Hazel Scott is the speed in which she plays a lot of these pieces that involve jazzing the classics and then how seamlessly she shifts into that improvisation. -She had complete command of her instrument but then also her wit of being able to pull in those nuances that she would use in the classical context but then also at the same time take something in the jazz context and -- and find a way to cross over these things. -It really places her into a conversation about virtuosity that doesn't surround women performers. ♪♪ -I started hanging around Billie Holiday after work instead of going straight home. Billie tolerated me and watched over me when the musicians began to hover too closely. ♪♪ -♪ My man don't love me ♪ ♪ He treats me, oh, so mean ♪ -One night, Billie phoned to invite me to her birthday party. -♪ He don't love me ♪ -She was appearing at a place called Café Society in Greenwich Village. The birthday girl was in rare form and sang her heart out. -♪ He's the lowest man ♪ ♪ That I've... ♪ -Café Society is the first integrated club in downtown Manhattan that really focuses on that idea, that its priority is the idea of integration. -Barney Josephson, who owned Café Society, decided that black music was going to be the center of what he put on. -Now, they could have been a wonderfully socially innovative place and had bad music or even had mediocre music. They had the very best. -♪ Southern trees ♪ ♪ Bear a strange fruit ♪ ♪ Blood on the leaves ♪ ♪ And blood at the root ♪ -It was the first time I heard the song "Strange Fruit." As she sang, a picture took shape in front of me, a chilling portrait of a lynching. It was a moment I can never forget. -Billie Holiday and her performances of "Strange Fruit" kind of helped put Café Society on the map, but in a very short order, she has to leave. -And when Billie Holiday wants to take off, she makes sure that Barney Josephson calls Hazel Scott. So for the young, still teenaged Hazel Scott to take Billie Holiday's place at the number-one club in the world, actually, with that kind of social and historic cachet, you can't exaggerate. That gig, that's a huge one. [ Piano playing ] -He offered me the salary of $65 a week. Having just closed at a club on Broad Street in Philadelphia where I had earned $100 a week, my shock was evident. When he saw my reaction, he declared, and I quote, "$65 a week is what I paid Billie Holiday. Do you think that you are worth more than she is?" I pounced. "Do you think that Billie Holiday is worth only $65 a week?" It was not until many years had passed by that I learned that she had deliberately quit in order to create the job for me. -Hazel Scott and Billie Holiday, they considered themselves family. She was a mentor to Hazel, yes. She was almost like a big sister. They were only five years apart. -In an industry where there is so few of us, to have that support, to go into rooms where you may be the only one, because so often we're not seen, but we see each other, and that's something that's unmatched. -And here is that promised piano and a selection you have heard many times before but never like this, Mademoiselle Hazel Scott brings us her own Café Society bounce version of Percy Grainger's "Country Gardens." ♪♪ -By 1939, she's the main breadwinner in the Scott family. She's the one taking care of her mother, her grandmother, the whole family. They bought a brownstone in Harlem, and she's really coming into her own. And she's only 19 years old. -She had started recording, so people were able to buy her records. -On one of my travels to a secondhand store on a Saturday afternoon, I came across one of her Decca recordings. Here was Miss Scott playing a style of music that really harkened back to the stride piano and boogie-woogie of the 1920s and early 1930s. -Sometimes there is a mischaracterization of what Hazel does. So when you hear sometimes people talk about her doing boogie, what she is actually doing is stride. -Stride starts to go, womp, whop, womp, whop, womp, womp, womp, whop, womp, whop, womp, whop, womp, whop. And it makes the piano sound like a drum, like a bass drum and a snare. Boom-tap, boom-tap, boom-tap, boom-tap. Boom-clank, boom-clank, boom-clank. So the piano then becomes like a full band in that moment. But then when we're playing boogie-woogie, the hand is staying kind of in one place. Bom-bee-dubba-dubba-dubba, bom-bee-uddle-uddle, ompee-ompee-uddle-ee-up. Or bum-ba-doddy umpa-doddy umpa-dubby umpa-dubby. The left hand can be all of the landscape. And the right hand is all the people, all the stories. ♪♪ Ah! I can't actually do it. I can't actually do what she -- what she does because she maintains a kind of freedom in her right hand and with a totally churning, totally grooving rhythm in her left hand. And it takes the brain to be so soft and to make sure new neural paths are made for it to actually work together. I can't do it, but that's my attempt at it. ♪♪ -Café Society, in many ways, became the wheels for Hazel Scott's journey. She was making a lot of money. She was meeting the finest people in New York. And what had started out to be, I think, a one-week engagement turned into her being called the Queen of Café Society. ♪♪ -During the war years, there was a series of films put out by the armed forces that was shipped overseas for the morale of soldiers. And there were various stories, and one of them, very often, was a musical piece. -Hello, fellas. I'm glad we could get together like this, because I have a song I want you to hear. It's an awfully good song. You men are writing new music to it, and the lyrics are in the headlines. The bazookas sing it. It's part of every longtime sonata you guys in the field artillery are writing all over Europe. It's your song. So listen to it, will you? ♪♪ ♪ When you're down and out, lift up your head and shout ♪ ♪ There's gonna be a great day ♪ ♪ Angels in the sky promise that by and by ♪ ♪ There's gonna be a great day ♪ -Miss Scott was an entertainer whose music would speak to black and white audiences alike. And her fame was such that she was invited to perform in one of these wonderful film shorts. -♪ Every chance we get makes it a sure bet ♪ ♪ There's gonna be a great day ♪ -She's encouraging our African-American soldiers to fight on despite Jim Crow segregation, despite lynching. -Many African-Americans made a concerted effort to express their patriotism and their devotion to the United States as a strategy for securing civil rights. -So her and Lena Horne are visiting army bases, encouraging soldiers to fight. They reflect true patriotism, black patriotism. -♪ Hey ♪ [ Song ends ] ♪♪ ♪♪ ♪♪ ♪♪ -Her name recognition was slowly becoming broader and broader. So Barney decided to open a second club called Café Society Uptown. That became Hazel's club. So when she goes to Café Society Uptown, that's when Hollywood came calling. ♪♪ [ Applause ] -Thank you, thank you, thank you. And now, ladies and gentlemen, you're going to see "A Night in Café Society," starring the dynamic Miss Hazel Scott with Teddy Wilson at his band. [ Applause ] ♪♪ -Harry Cohn, the head of Columbia, said, "Send for her. I want to see more of her. Enlarge her part." The picture was "Something to Shout About" about a group of vaudevillians. -During the 1930s and '40s, there was a glass ceiling. And, boy, it was a thick pane of glass that not only prevented black artists from achieving their full potential on film, but black women in particular. -Just a minute. Who do you want to see? -I'm Hazel Scott. We're here for the audition. -Oh, Miss Scott. Yes, they're waiting for you. Go right in. -Hazel is offered four different roles in movies, and they're all servant roles. And she says no to all of them. -She had in her contract that she could only perform as herself or as a patron. She wasn't going to play a tramp, a whore, a vixen, a temptress, a prostitute. She was going to play herself. She was going to play someone who's intelligent, who has a wonderful skill set, someone who deserves respect and demands respect. -We've always been told as an actor in Hollywood that, "Well, you're lucky to be here." You know, "You're lucky to even be considered for this. Take whatever they're giving you." But the fact that this woman in the '40s was like, "That's not the case for me. I will look glamorous and beautiful and feature all of my talents the way I want to feature them, and you're going to pay me for it." [ Applause ] -How's the piano, Hazel? [ Piano notes play ] -I guess it'll hold up. [ Notes play ] -For someone like Hazel Scott to break through, and to be very specific about the ways that she, as a black woman, wanted to be treated as an artist as well as represented to the larger public is radically important. She believed that if people saw the richness of black culture and the incredible talents that they brought to the stage and to film, then perhaps there would be a move to change the way that black people are treated in everyday life. ♪♪ -It's representation. And as we say, representation matters. It creates a new lane for black women. ♪♪ [ Applause ] -These are demands that a lot of people are afraid to make to this day because of the fear that they're going to get blacklisted or they're going to be called difficult or they're going to be called divas. But ultimately, she was making these demands because you have to determine your own narrative as a black woman, or else it will get written for you. ♪♪ -What other entertainer during that time could have that written into their contract? I'll wait a second. No other. No other. No other entertainer at that time. ♪♪ -In that time where there was still so much racism and -- and segregation, it just showed that her talent... ...made everybody forget everything [Chuckles] and give her what was due for her. ♪♪ ♪♪ [ Applause ] ♪♪ -Hazel Scott really burns the piano up. When you watch her play, then you understand that what she accomplishes at the instrument was not actually possible. -In that scene where she's going back and forth between the two pianos, she's doing so much political work, cultural work, ideological work. It's just amazing to watch her handle all of that at once. And she's singing ♪ When the black keys meet the white keys on Piano Avenue ♪ -♪ Do they music? They do ♪ ♪ They swing it in G corner of Keyboard Street ♪ ♪ The black and the whites do it all right ♪ ♪ Oh, yeah ♪ -She used every tool in her toolbox as knowingly as -- as anyone could to get the message across that she wanted to get across and to reach the goals that she wanted to reach. -♪ The black and the whites do it all right ♪ ♪ Oh, yeah ♪ -It's really ironic that today, because of social media, the one clip that is the most popular clip of Hazel Scott is her playing the two pianos. The film "The Heat's On" -- That was where she had the worst experience in Hollywood. ♪♪ -♪ Over hill, over dale, we have hit the dusty trail ♪ -The trouble didn't start until the scene where the women were saying goodbye to their husbands as they went off to war. -Attention! -It's a segregated army at that time. So all black soldiers and their wives and girlfriends are there to see them off to war. They've done the rehearsals, the scene's ready to shoot. She walks onto the sound stage and an assistant director decides to change the costume. ♪♪ -And she notices that the black women have on soiled aprons. And she goes, "What is wrong with their costumes?" So the choreographer says, "Well, we sprayed a little oil on them and so they look more authentic." -The blood rushed to my head. Am I to understand that these young women are to see their sweethearts off to war, wearing dirty Hoover aprons? The choreographer bellowed, "Why do you care? What's it to you?" With that remark, the lid blew off and I went absolutely mad. The next thing I knew, we were screaming at each other and all work had stopped. -The director was like, "How the other women are dressed on set is none of your business. You can only control how you are dressed. That's in your contract." And she said, "Well, actually, I can control how you dress the other women because I'm not coming to work." -So she stages a strike and all of the women follow her lead and she goes, "We're not coming back until this is fixed." -Word gets up to the president of the studio. Not that Hazel Scott is objecting to the maids uniforms. Not that Hazel Scott is saying that black actresses are not being treated well. The word is "Hazel Scott is holding up production." Well, that's one of the deadliest phrases in Hollywood. And he said, "That's it. She's not going to make another movie as long as I live." -Today, when pride in our blackness has become the order of the day, it is a bit difficult for me to make you understand how lonely it was then. Until my fight at Columbia, no black person had ever dared to oppose the establishment. No one was there to back me up. There I was, out on the limb of race pride, and Harry Cohn swore that he would chop it off. -She very much so was the only woman doing what she was doing the way she was doing it. And she could have very much so just hoarded all that success to herself. But in times that she didn't have to, she advocated for -- for black women. -After three days of strike, they gave in. The chance to see our people portrayed on screen as they never had before was heady wine for a 22-year-old crusader. I told the girls, "Tonight, I want every one of you broads into the hairdressers tomorrow morning at nine. I want you on this set immaculately turned out." As the young women left my dressing room, they had an air of people passing a beer, viewing my last remains. [ Up-tempo music plays ] -In the movie, you'll see these women in these beautiful floral dresses doing a dance number, and it's gorgeous. And she stood up for them, but it cost her her entire movie career. -♪ Attention ♪ -And it's just staggering to me that they did that to her. Oh, it makes me so mad. It makes me so mad. [ Slow music plays ] ♪♪ ♪♪ -If it became a question, as it did, of fame and fortune through acceptance of existing standards or oblivion due to my embattled stand, there was no contest. There was never and there could never be enough money in the world to compensate for the loss of one's dignity. -I think a lot of people think the civil rights movement, like, started in the '60s and ended in the '60s, and it's like, no, that was the culmination of decades, of centuries of people chipping away and chipping away in ways that people don't even realize. Hazel making this decision was her own civil rights movement built into her work. ♪♪ -Is this the land of the free and the home of the brave? [ Crowd shouting "No" ] Is this a land with liberty and justice for all? -No! -Is this one nation, indivisible, under God? -No! -Either let us practice the democracy we are preaching or shut up! -Adam Clayton Powell -- dashing, handsome, articulate, fearless, in-your-face black politician. -The first time I heard Adam Clayton Powell Jr. exhort a crowd, I tingled from head to toe and realized that I was in the presence of greatness. -Adam Clayton Powell was an extraordinarily dramatic figure who, before Martin Luther King Jr., who, before Malcolm X, was conjuring rhetoric and controlling the masses of black people in terms of encouraging them to vote, to resist, to speak up for themselves and to constitute a force for progressive social change for black people in America. -Son of the pastor of one of the most important congregations, Abyssinian Baptist Church, he would later inherit that pulpit. He was an activist, challenging the lack of black-owned businesses, or that black people could shop on 125th Street but couldn't work there. He was very handsome. He married an actress and he was considered a kind of playboy. He was a celebrated man about town. ♪♪ -By the time Adam came calling, Hazel was at the height of her fame. She had just come back from Hollywood. So people came from all over the world to hear Hazel Scott swing the classics. And then in walks Adam. -I met him on several occasions, but in 1943, I really caught his eye. I think mainly because he hadn't caught mine. Women made such total idiots of themselves over him. It was refreshing, you know. And that was what started the whole thing. -I should try to cut my remarks down. But after all, I'm a Negro Baptist preacher, you know. [ Laughter ] Nobody can control the Negro Baptist preacher. Even God sometimes can't. [ Laughter ] But nevertheless, I will try to make them like a woman's skirt -- long enough to be respectable, but short enough to be interesting. [ Laughter ] -Their love affair was something of a scandal when it was happening. He was still married to Isabel Powell, and the two of them used to come to Café Society to see her shows. -I'll never forget this. He came in with his entourage and everything, and my son's godmother, Mabel Howard, told me that he stood in the corner with her and he said, "I'm going to marry that girl, but I'm going to go to Congress first because no one will ever call me Mr. Hazel Scott." -Wow. -Isn't that interesting? ♪ Who hit me ♪ ♪ Where am I and what's happened? ♪ ♪ I can't recall a thing since you came in view ♪ -They were the most high-profile black couple in America. Their wedding in August of 1945 was covered by Life magazine, which was a major thing for a black couple in America at that time. -They are aspirational. They are beautiful. They are smart. They're sophisticated. They're hip. They're glamorous. They are challenging every stereotype about what black Americans are. -It was also incredibly important for their marriage to also represent the possibilities of the arts and politics coming together in a dynamic way to think about what was next for black America. -Not only was black America fascinated with them, but also white America. -Here is one of the very fine artists of the American stage. Hazel Scott. Let's have a nice hand for Hazel Scott. [ Applause, up-tempo music plays ] Let's take a little peek. -♪ If I am fancy free and love to wander ♪ ♪ It's just the gypsy in my soul ♪ ♪ There's something calling me from way out yonder ♪ ♪ It's just the gypsy in my soul ♪ -It's significant that it's not just she's the wife of a great man. He's also the husband of the supremely gifted pianist and all the things that she is. -♪ It's just the gypsy in my soooooooooul ♪ [ Applause ] ♪♪ ♪♪ -There's a deep poignancy that this couple experiences after Powell is elected to Congress. He makes history when he comes to Washington, being elected from the northeast as a black congressman, and he is reminded that he is still a black person and he cannot enjoy the fullness of Washington, D.C., because of segregation, nor can he enjoy all of the privileges of being a member of Congress. -She admired what he was trying to accomplish in the House of Representatives, but as a town she thought, "How can this city represent itself as the epicenter of democracy when we can't even get into a restaurant? We can't even go someplace and have dinner because it's a segregated town." -When you think Adam Clayton Powell, a warrior, a word warrior, a spokesman, a leader for black America, couldn't go to the barbershops, couldn't go to many of the clubs in Washington, D.C. He fought that tooth and nail. He didn't take it lying down. -Adam was chairman of House Education and Labor. And he said, "Sam Rayburn took me aside and said, 'Well, Powell, I know you're not going to offend any of our delicate sensibilities by coming into our barbershops and our restaurants and things.'" He said, "I just patted him on the back just as he patted me on my back for luck. I patted him on his for my share of luck, and walked away and decided to take 15 of the blackest men I could find into the Congressional Restaurant." ♪♪ -They were black elites. They were the black blessed and the black fortunate. As such, they took seriously their responsibility to do something for the masses. -The fighters for freedom need encouragement. For now, as I write this, the forces of reaction, those who preach hatred of man are becoming bolder with each new day. Those who are for the right must take heart. There is no need to falter. There is no place for self-doubt. ♪♪ -A year after their marriage, Hazel becomes pregnant with their son, Adam Powell III, who they called "Skipper," and that was the joy of her life. ♪♪ Adam asked her to give up clubs. Changed her entire career. ♪♪ He said, "It's the church. They don't want the first lady of the church to perform where people smoke cigarettes and drink alcohol." And she thought, "Well, that's the height of hypocrisy because when do you not have a cocktail in your hand? And you met me in this very club." She said, "I had to brush up the classics again because I had to start playing classical music just as much as I was playing jazz and really expand my repertoire so that I could appeal to a larger audience." ♪♪ -And so I went on concert tour after I left Café work. I insisted on going south because we were a concert too. You just can't stay in the north. You've got to go south, right? So I went south. -You know, people were still being lynched in the South, and there was that famous flag that waved in Harlem that would tell the number -- you know, "30 people were lynched today," or, you know, it was like an update to the community to let them know what was happening down south. -Oh, well, all are equal in the eyes of God. How silly can you get? Christ himself was the greatest teacher of segregation. You never yet found a blackbird in a bluebird's nest unless he was there to steal the eggs. -She is not traveling in a very welcoming America at all. It's hard for us to imagine it right now, but every little town was a potential sore spot for someone like Hazel Scott and her band members, and it's not a given that the legal establishment would have protected them. You know, the police would have been on the side of the mores of the communities that they traveled to. -You had to make sure that you knew where you were going to stay, that you knew where you might be welcome, that you knew which roads you would be traveling on, because it could be very dangerous. ♪♪ ♪♪ -She's sort of emboldened to challenge many of those things that are traditional or even legal. She's challenging them with her very being every time she steps into some of the places that she travels to. -I tell you that I would break the law and have a non-segregated audience because I had the clause in my contract that if they segregated the audience, they would forfeit half my fee and I would not have to go on. Dr. Martin Luther King told me that the first time he sat in a non-segregated audience in the South was at my concert. -Because she would never perform before a segregated audience, it forced a number of venues to desegregate for the first time. -To have the audacity to stand up for yourself 10 years before the bus boycotts, before the civil rights movement as we know it, for her to have that kind of sense of self-worth... Amazing. -I had no trouble until I got to Austin, Texas, and sure enough, I was asking, "Is the microphone alright," or "Is the piano fine?" 440 concert pitch. Fine. The spotlights and the audience, of course, is not segregated. What do you mean? I said, "Oh, Lord." And they said, "Well, there's only a red carpet down the center aisle." I said, "How wide can the carpet get? Now, how is somebody going to object to sitting next to somebody who looks just like me and paid good money to hear me play? What is that?" And they said, "Well, you know, well, alright, we'll have to cancel." I said, "Beautiful." And that night 7,500 people had had their money returned, plus the 200 standees. And the students at the University of Texas marched out and lit a bonfire and burned the demon effigy. That was 1948, and an out-of-town agitator named Scott got out of town in a hurry because I didn't want to go to jail. -Once again, here was Hazel Scott using her celebrity, using her notoriety to shine a light on discrimination in the United States. -This is a time when black people were still not seen as full human beings. This is a time where slavery is a memory. It's not something that we're looking at in history books. This is the time when people's grandfather was an actual slave. She showed other folks, "You can fight. You can do this, too." -People asked, in all sincerity, what I hoped to accomplish by deliberately flouting the law of Southern states for a temporary victory of an integrated audience for one night. My reply was simple. "It was necessary to begin somewhere with someone." -She modeled for so many women who, in the '60s, fell into that same role -- using their music, using their celebrity, having relationship with movement organizations. ♪♪ -This is the DuMont Television Network. ♪♪ ♪♪ -Hello there. I'm Hazel Scott. ♪ I was a stranger in the city ♪ -She was the first person of African descent to have a television show. A lot of people don't know that. We talk all the time about Nat King Cole being the first person to have an actual TV show. It was Hazel Scott. -♪ A foggy day in London ♪ -It was amazing that a black woman could have a television show in 1950, and that she was hosting it. -This was a time when there was a black person on TV, you called all your family and said, "There's one black person on TV." -It wasn't a variety show. There weren't any other acts. It was just Hazel at the grand piano, swinging the classics, playing classical music straight, playing jazz straight, swinging them when she wanted to. And then her house band was none other than Max Roach on drums and Charles Mingus on bass. So not too shabby. -It allowed African-Americans the opportunity to see themselves in a realistic light. It received critical acclaim. It was the dignified, intelligent and respectable representation of blackness that was missing on television. -Just as soon as she thought, "I've got the dream gig, I can see my little boy, I can have the happy home, I can cook dinner for my husband, I can have this perfect life, still play music, have a great show and have this wonderful life," enter McCarthyism and the blacklist. -In recognizing a communist, physical appearance counts for nothing. If a person supports organizations which reflect Communist teachings or organizations labeled communist by the Department of Justice, she may be a communist. ♪♪ -A group of former FBI agents published a book called "Red Channels." In it, it had a list of entertainers or people in the entertainment industry that were considered to be subversives. And it just so happens that Hazel Scott was listed in "Red Channels" and that she was attached to at least 10 or more subversive organizations. -Black politicians, black activists, black artists were always vulnerable to the accusations that they were communists, not because of their political ideologies, but because of the threat that their demands for change inspired in the very forces that were trying to suppress black political and economic power. -They were very committed to policing the color line in television in those early days of the medium. She was black, she was brilliant, and she was brave. And that was a heady mix in 20th-century America and very threatening to people who wanted to uphold the racial status quo. -Fear of communists' subversive activities has developed into hysterical frenzy, which grows daily. -If I had my way about it, they'd all be sent back to Russia or some other unpleasant place. [ Applause ] -She said, "I've worked all my life on my career. My name is all I've got, and I'll be damned if these people are going to scandalize my name." -Over my father's objections, she was determined to go public with statements, plural, including a statement in front of the House un-American Activities Committee. And my father said, "You're crazy. You can't win. You can't win with these people." -If I believe that I'm in the right, I will die before I allow myself to be dissuaded. It has never been my practice to choose the popular course. When others lie as naturally as they breathe, I become frustrated and angry. -Have you ever been a member of the Communist Party? -I have told you that I will fight for my beliefs, my affiliations, and I shall... -Stand away from the stand! -...fight for the Bill of Rights, which you are trying to destroy. -Officer, take this man away from the stand. ♪♪ -Hazel was nothing if not sure of herself, and if she thought she was right about something, she would follow through that conviction, even if it was not politic to do so. [ Gavel bangs ] -Meeting will come to order. -She wrote a 50-page statement explaining to them who she was, what she did for a living, that she was not a communist, that she was not a communist sympathizer, and she did not appreciate being called either. -This is the day for the professional gossip, the organized rumormonger, the smear artist with the spray gun. A few cunningly contrived lies, some false statements, an impressively long list such as "Red Channels" and the years of preparation, sacrifice, and devotion are killed. We should not be written off by the vicious slanders of little and petty men. ♪♪ -One of the mistakes that Hazel Scott made was volunteering to appear before HUAC. She wanted to clear her name, but they had already made up their minds. -I don't think that anyone at that point in time understood the connection between the people who had created the tract "Red Channels" and the House un-American Activities Committee. They shared the same belief in what they called 101% Americanism, which was basically the racial status quo. ♪♪ -She came back from testifying in Washington. Her audience and the ratings was very good. The reviews were very good. In fact, the audience may have been growing, but the sponsors were nervous and the network was nervous, and they eventually canceled the show. -If you fight the establishment, you're not very popular with it, and everything is done to remove you from public memory. -One of her real regrets was learning that the network tried to destroy all the copies of the show, and she was told, dumped in the Hudson River. -It became kind of lost to history. I mean, people in the industry knew that Hazel Scott had had the first nationally syndicated show. And, you know, as many historians would say, could have changed the course of television history too. -The shorthand way of saying what happened was that Hazel Scott was blacklisted. Hazel Scott couldn't get a job in show business. And this was a very real problem. -And instead she toured. She played in concerts all over the country. -This is a lovely tune by Prevert and Kosma, and it's known in America as "Autumn Leaves" and in Europe as "Les Feuilles Mortes." ♪♪ ♪ Oh, je voudrais ♪ ♪ Tant que tu te souviennes ♪ ♪ Les jours heureux quand nous etions amis ♪ -What she would do each week -- have her schedule typed up, and she would post the carbon copy on the kitchen cabinet next to the phone, so I could always come home from school and look up and see where she was that day. ♪♪ -Having to do more travel really pushes Hazel and Adam apart in some ways, because she's not spending as much time at home. ♪♪ -When a love affair begins to fall apart, you look at your beloved and he literally comes unglued in front of your eyes. What you once thought was commanding becomes mere bullying. Inside of your voice is saying forever was very short. -Thank you. ♪♪ ♪♪ -This is Bill Blitzer speaking to you from Paris. The divider is one of the world's most beautiful nightclubs, and it's here that America's own Hazel Scott has been playing for the Parisian public. No need to tell you that Hazel Scott has been a sensation here in the French capital, as she is in her own USA. First of all, Miss Scott, is this your first appearance in France? -Yes, this is the first time in Europe for me. -♪ Si tu viens dans ma danse, si tu me prends bien la main ♪ ♪ Tu me porteras chance et nous irons tres loin tous les deux ♪ -For the summers of 1951, '52, '53 and '54, we went to Europe. Congress would go out of session in May. My mother would have concerts booked in Europe. Big venues in France and Italy. And my father would do surprise inspections of American military bases. -♪ Viens danser ♪ [ Singing in French ] -Tell us one other thing, Miss Scott. How about Paris itself? How do you like being here? How do you like it? -Good heavens, I wish I could stay for a long time. It's wonderful here. ♪♪ -She really enjoyed performing in Europe. She thought that the reception was better, that the fans were better, that racism was different. -I was in the middle of an unhappy marriage. I'm an independent person. Every year I'd go overseas, and just as it was getting interesting, I'd have to come back. -There was a grapevine, and she heard things. As the rumors of infidelity increased, she became more and more disenchanted with the marriage. -I have a terrible temper and I make a very poor doormat. Our marriage had become very physical, very early. He went to wife-beating school. Lumps flew with regularity, and a great deal of precious china was destroyed. [ Scoffs ] Whenever Adam flaunted a woman publicly, he was really attempting to prove just how little he cared that I had turned him out of the conjugal bed. -The fights, she said, were just nonstop. You know, they were really going at it. And she admitted that, you know, a lot of their fights were fueled by alcohol. -♪ Quand elle s'ennuie dans sa mansarde, Lola vient écouter ♪ ♪ Le murmure des fontaines qui bavardent a travers ♪ ♪ Les prés et les rosaies ♪ -In the summer of 1954, my mother's European manager said, "Hazel, let your husband and your son go home. Stay one more week. I can get you Salle Pleyel," One of the big, big venues in Paris. Huge, huge venue. It'd be a lot of money. She said, "Okay, I'll stay another week." -♪ How do you translate ♪ ♪ N'oublie pas les paroles? ♪ ♪ Lullaby of Birdland ♪ ♪La légende du pays aux oiseaux ♪ -So she would send telegrams. "Felix wants me to stay another week. He can get me this. Felix wants me to stay another week. He can get me this." And finally, my father said, "Son. I don't think your mother's coming back. Because look at the telegram she just sent." It was a telegram asking to ship her piano to Paris. -♪ I'm in love, I'm in love, I'm in love, I'm in love ♪ -[ Speaking French ] -♪ Lay the branches down along the ground ♪ ♪ And cover me ♪ [ Conversing in French ] ♪♪ [ Singing in French ] -And she was wildly popular all over again in Paris. So she was able to live her life out loud in Paris in a way that she couldn't here anymore. ♪♪ -And of course, the French, they loved that she could perform and speak to them in their language. She said, "My goodness, here in Paris, I'm a queen. They treat me royally." Which, of course, she felt was only her due. -My years out of America were years of much needed rest. My son became proficient in French. He enjoyed life in France and we enjoyed our apartment together. My Paris is like the very first time you realize you're in love. -[ Singing in French ] ♪♪ -She's trying to reassess and -- and start this new life. Adam shows up and he says, "You know, we need to give this another try." And so he tries to rekindle the romance and the marriage. And for a hot minute, it worked. -I guess I'm not entirely surprised that my father would fly to Paris and try to have a reconciliation. They told me they were trying to have another child and I'm thinking, "Hmm. Does this compute?" -As they started spending time together in Paris, some of the old hurt and the old pains and the old accusations of infidelity, all of that stuff started to come to the surface, and all of the old arguments began anew. And by the time he left Paris, she was completely distraught, and it was at that time that she attempted suicide. [ Engine buzzing ] [ Siren wailing ] ♪♪ -One has to be driven by an inordinate sense of guilt and self-hate in order to resort to such desperate and final measures. My inability to face a return to that home created a huge guilt within me, with which I was totally unable to cope. My son wanted it. My husband wanted it, and I knew that I would rather die first. -Now I know how much she did struggle emotionally. At the time, she did her best. It was pretty good to keep that from me. -When she came out of that experience, Billie Holiday, who had always been, you know, her right hand -- she was always her big sister. Billie came to her and said, "Look, get it together. Because if nothing else, you've got your son." ♪♪ [ Woman speaking French ] [ Applause ] [ Woman speaking French ] ♪♪ ♪ Mon espoir et ma crainte ♪ ♪ C'est ton pas dans la rue ♪ ♪ Mon amour viendra tu ♪ ♪ C'est toujours viendras tu ♪ ♪ Et j'en fait ma complainte ♪ [ Singing in French ] ♪♪ ♪♪ ♪♪ [ Applause ] -[ Speaking French ] ♪♪ -[ Singing in French ] ♪♪ -She was watching the civil rights movement unfold while living in Paris, and she had a tremendous amount of guilt about being away from the fight, as she called it. -You see, when Dr. Martin Luther King came backstage to see me many times in Europe and he would say, "Hazel, come home because there's another generation growing up that knows nothing about what you did." ♪♪ This is where I got a prominent knot in my stomach. ♪♪ -Last summer, we took the show over and did it from the Cannes Film Festival in the south of France, and at the same time discovered a gal was in town that I hadn't seen or really heard of in years. Although I'd had been a great fan of hers, and I'm proud to say she's back now in America and here she is, live on our stage. Here's Hazel Scott. [ Applause ] -There was profound transformation in the society by the time she returns in '67. It was a dramatically different America. -Gosh, we missed you. And it was such a nice surprise to see you. -That was wild, wasn't it? -Yeah. What did you go over to France for in the first place? -For three weeks. [ Laughter ] ♪ There's something about New York ♪ ♪ That explains the way I feel ♪ ♪ There's something about New York ♪ ♪ There's good reason for all that talk ♪ ♪ If you knew her, you would love her as I do ♪ -By the mid to late 1960s, we have a rise of a new generation, a militant generation, a generation that is not always kind to its predecessors because they want to be seen as the first ones to militantly confront American racism. It's a generation gap, a big difference. -We want black power. We want black power. -She had a particular kind of sensitivity about anybody that thought her becoming an expatriate, that she was running away from the fight. -25 years ago, when I put myself out of work, when I was called, among some other kind of things, a black Joan of Arc, a communist, a radical, a professional black lady, an apologist for my race. I was told that I waved my color like a banner. I'm not about to sit still now and let anybody tell me that nothing has been done until these new Negroes started letting their hair grow long. ♪♪ -♪ My ship has sails ♪ ♪ That are made of silk ♪ -Music had changed. -In the number 10 spot, The Mamas & the Papas, Peaches & Herb, The Doors, the Soul Survivors. Number 6 is Neil Diamond. The Temptations, the Cowsills. Stevie Wonder holds number 3. Strawberry Alarm Clock moving to number 2. And this is the number 1 record. ♪♪ -♪ Looking out on the morning rain ♪ -There's all these new sounds that are popular, and her sitting behind a grand piano singing jazz standards was just not the order of the day. [ Piano playing rapidly ] -You've been away too long. -I agree. -You've been -- Where are you now, at the Playboy? -Yes, I'm at the Playboy in Hollywood. -How much longer will you be there? -Through Saturday night. -It was a different life. It wasn't the concert hall. It was clubs. -And to just come back to America to find an industry that had dried up for her. A woman who literally stuck to her principles so much that it actually cost her her place in history is so incredibly sad. I feel like it was a -- a perfect storm of erasure. ♪♪ -Hazel Scott's career is, sadly, interesting in that it has a trajectory that goes up and sort of stops with her political blacklisting, and certainly in this country, it never really recovered from that stop. If she harbored any resentment or bitterness about her treatment, especially her blacklisting in the 1950s, she never let it show. ♪♪ -She made a lot of records as a singer, as a pianist, with some great musicians and great orchestras. But I would go back to "Swinging the Classics," that very first album, because that's really the one that ignited the fuse to let the world know that there was a Hazel Scott. -One of my favorite albums of hers is "'Round Midnight." ♪♪ "'Round Midnight" has been recorded by many, many people. But her interpretation of "'Round Midnight" has to be a classic in her repertory. -I was listening just today to one of my favorite albums, whether I'd known Hazel or not, "Relaxed Piano Moods," and she's playing with two of the greatest musicians in the history of jazz, Max Roach, the drummer, and the bassist Charles Mingus. To play at that level, she had to have not only the chops, but she also had to have the intellectual and emotional range to work with them. ♪♪ -Max Roach and Charles Mingus in '55 -- They learned from her model about what it is to be activists, what it is to stand up and be proud and proclaim something. It's heard in her touch alone. ♪♪ A kind of defiance, a kind of boldness, a directness. And that is threatening to people. It's threatening when you hear someone who is unshakable, and she is unshakable. ♪♪ -Would you ever have any plans to retire from what you're doing or not? -I can't even understand that word. First of all, everyone I ever knew that retired died six months later. ♪♪ -So, she called me at my office and said that "Your mother has her dream job. It's going to be a club off Times Square. I can perform there 30 weeks a year, 40 weeks a year. I'll be here all the time and I'll be home." And then she paused. "Oh, no." "What's the matter?" She said, "The show business superstition. Don't you know the show business superstition?" I said, "What's the superstition?" "When you get your dream job, you're about to die." I said, "Oh, come on, you're -- You're not going to die. You're in great shape." ♪♪ ♪♪ The last of her friends to come and see her was Dizzy Gillespie. And he put a mute in his trumpet, and he played her favorite song. So you hear bleep, bleep. And he finishes playing the song. And she opened her eyes and smiled and closed her eyes. [ Imitates flatline ] ♪♪ ♪♪ -She was only 61. She died tonight at Mount Sinai Medical Center. She had cancer. Hazel Scott was a well-known jazz pianist. She had appeared at the old Café Society downtown in Greenwich Village. She was also in movies and on Broadway. ♪♪ ♪♪ -We're in a new moment of civil rights and women's rights and, you know, now speaking up and being political is the norm. Now, because we have social media, online activism is very kind of easy to do. She was doing it when it wasn't easy. And I think that we owe so much to her without even knowing it. -She teaches us to not put boundaries or barriers among the various parts of who we are, that when you integrate them and when you make them full, that you can make an incredible difference. -What we do as artists, we can't just take it lightly. It's not about us. It's about something bigger and beyond us. And if the art is not serving that purpose, you're wasting your time. -Generations that follow her have to re-establish her significance, her importance, and see the way she really does lay the groundwork and is a foremother for an Alicia Keys, for young women musicians who are also trying to make it in the entertainment industry. -Don't let anybody ever dim your light. That's what we can take from Hazel Scott. To be an activist, even in a small form and making black people feel seen, that is how you can learn from Hazel. [ Applause ] -Do you know a little girl by the name of Skippy Powell? -A boy! -A little boy rather. -You did that on purpose. -No, I didn't. I just wanted to get the extra line in. Uh, he just called up. -He did what? -He said he was watching his favorite mother playing on "Toast of the Town." He wanted to know if you would play for him and the audience two choruses of "How High the Moon." -Oh! -Would you do that? -I'd be very happy to. -This is for her little boy. [ Applause ] -Each day that I have lived thus far has taught me something. The sharing of pleasure. The loneliness of pain. The long hours of waiting for evidence of love. The brief bitter horror of hate. The fact of my own fallibility. The greatness that has momentarily been mine. [ Chuckles ] I've been brash all my life, and it's gotten me into a lot of trouble. But at the same time, speaking out has sustained me and given meaning to my life. ♪♪ -If you were to ask her what her legacy was, I think she would say something which she said often to me, which is, "If you're right, don't back down. If you're right, fight for what is right." [ Applause ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪

Economic Corner - the boundaries of spending side the demands of inheritance The NAACP a white financed organization historically makes two points: Black Dollars power in the united states of America The Diversity Equity Inclusion goals. To Black Dollars... Is spending a nonviolent form of power in fiscal capitalism? yes Can Black people in the U.S.A. spend in such a way to avoid financing whites? no. I have already mentioned the black farmer [ https://aalbc.com/tc/topic/11483-economiccorner014/ ] in the united states of America. Black Farms in the united states of America do not have the means to feed the black populace in the u.s.a. So, Black people in the usa can not feed themselves absent mandatory involvement with white farms which means the most important thing all humans do, eat, is something black people in the usa can not do absent supporting white business. I live in New York City, the city with the most black people in it in the united states of America. Black people in NYC can not grow enough food for ourselves, no one can. Urban life has its advantages but it also has its weaknesses. Urban populaces have to buy some things. You don't have land to grow vegetables. You don't have land to raise sheep. You don't have land to get natural resources from the earth. I am not saying spending is impotent, it is not. But spending has limits as a tool. It is a myth to suggest this. And I will use the internet. The NAACP says one of the firms need to be banned from black buying dollars is Meta. That is a laughable call. Black people in the usa, who don't go to black owned websites because they don't have the widest userbases, will flock to them now and leave Facebook+ Instagram+ WhatsApp... I can't tell you how many black people have said, you not on facebook, you not on Instagram.. how many black people especially from the Caribbean or Africa or asia, all black, ask, you on WhatsApp. All three: facebook/Instagram/WhatsApp are so connected to black individuals in the usa, you can forget it being banned by all or most blacks in the usa. And spending time on a website is your spending dollars online. The websites you spend time on profit because of the time you spend on them, your time is the spending dollars online. And the online environment is the one environment where black owned business/websites I think have the means to support the black populace albeit online populace. I wonder what @troy thinks to the following: if all the black people online went and operated on black owned websites, do enough black owned websites exist or have the collective memory/bandwidth/speed to support the entire black populace online? To Diversity, Equity, Inclusion(D.E.I. or DEI )... I will begin the same way I began to an offline friend... D.E.I. is needed, is warranted. But ... two problems exist. One is about the heritage of inherited fiscal capitalism in the united states of America, the other is about the heritage made of the legal relationship to failed business in the usa. To the heritage of inherited fiscal capitalism, White people in the usa came from Europe in the same way all willing immigrants[not First People or Black Descended of Enslaved] came after, with a goal for financial betterment for themselves and to leave to their children as much as they can. This desire leads to nepotism. Firms changing the lowest wage jobs demographic is doable, but firms changing the tribes or clans in the ranks of owner or administrator goes against the heritage of fiscal capitalism all willing immigrants have. The same latin americans who complain about DEI will hand their business over to their son miguel even if miguel is a fool. I myself have never thought , if I own a billion dollar firm, to hand it to anyone but loving ones on my death. And trust funds is a form of slavery, which i don't support. The lawyers in a trust fund will never publicly say they own anything, but they can deny your descendants in the role of protector you gave them. And why are trust funds really made.. failure. To protect firms from failure. To heritage of governments relationship to failed business in the usa, When I think on it now, from the nineteen hundreds to today, the federal government of the united states of america , has given welfare checks of immeasurable value to completely failed industries in the usa: the banking industry multiple times, the automotive industry, the airline industry multiple times, the internet industry multiple times, the farming industry multiple times, the mineral resource industries[ oil/coal] multiple times. Not just subsidies, the most common, or the rarest, to big to fails, welfare includes the tariffs to protect them, the readmittance to citizenship of the white enslavers in the confederacy, the ... when I think on it, the federal government has repeatedly saved the owners plus high ranking administrators of firms through all industries from their own failures, multiple times. Who are said owners? the whites the DEI initiatives are supposed to make in lesser quantity. But the heritage is not ownership by merit, it is ownership by phenotype. What is my point? A law making no business to big to fail needs to happen. In all earnest when I look at the financial history of the United States of America, the reason why the owners plus top ranking managers are mostly white in the usa's industries isn't merit, it is protection by the federal government. When the next push by black people into an industry occurs will it be like: the black farmers, who whose white counterparts were given 100% better subsidies or opportunities the black music labels, whose white counterparts were denied no markets while they were blockaded or relegated constantly the black small business, who unlike their white counterparts have a history of 100% rejection by banks or other fiscal operators including the governments tiers for loans in most geographic regions in the usa My point is not that DEI isn't needed or warranted. Programs to push non white male christian hetero persons into the ownership or top management positions of firms in all industries is needed cause merit doesn't get non white male christian hetero persons into said positions. Programs to push non white male christian hetero persons into the ownership or top management positions of firms in all industries is warranted because examples of non white male christian hetero persons merting in said positions is on the historical record. My point is that DEI's biggest aid will be allowing white male christian hetero persons in ownership or top management positions of firms in all industries to fail, to stop getting welfare, stop getting subsidies, stop getting loans, stop getting protections. Failure isn't evil, failure isn't bad, failure is as human as success. But failure does something success rarely does. Failure opens up doors of change far wider. URL https://naacp.org/campaigns/black-consumer-advisory https://naacp.org/sites/default/files/documents/Black%20Consumer%20Advisory%202025.pdf Specifics from the URL ... The Power of Black Dollars Many corporations continue to profit from Black dollars while simultaneously undermining commitments of diversity, equity, and inclusion. These rollbacks not only harm Black communities, professionals, and entrepreneurs but also erode the progress made toward creating equitable economic and social systems. $1.7 Trillion Black consumers possess immense economic power, with a purchasing power exceeding $1.7 trillion annually. ... The Cost of Abandoning DEI Walking away from diversity, equity, and inclusion programs threatens economic opportunities, workplace diversity, and community investments, directly impacting Black communities nationwide by: Eliminating roles in diversity, equity, and inclusion Reducing supplier diversity Declining community investments Shifting away from equitable hiring practices These rollbacks reinforce historical barriers to progress under the guise of protecting "meritocracy," a concept often used to justify exclusion. IN AMENDMENT Preach Brother Martin, preach [ The Kerner Commission : https://aalbc.com/tc/topic/11488-economiccorner015/ ] https://www.tumblr.com/arinzechukwuture/775786027242635264/rev-dr-martin-luther-king-jr-speaks?source=share MLK on Fiscal Accountability https://aalbc.com/tc/profile/6477-richardmurray/?status=2532&type=status Prior Edition: https://aalbc.com/tc/topic/11502-economiccorner018/ Boundaries of Spending power side demands of inheritance POST URL https://aalbc.com/tc/topic/11503-economiccorner019/ PRIOR EDITION https://aalbc.com/tc/events/event/201-economic-corner-18-02232025/ NEXT EDITION https://aalbc.com/tc/events/event/206-economic-corner-20-02262025/ 02242026 Citation https://aalbc.com/tc/topic/12496-is-dei-still-needed/#findComment-80318 osted just now @ProfD On 2/23/2026 at 9:19 PM, ProfD said: IMO, DEI was never a threat to those who have benefitted the most from privilege, advantages & allowances...white men. White men have a monopoly on power & money that will only be overthrown by external forces &/or their own implosion. DEI like anything else was used as an illusion of providing access to opportunities. Right, even in DEI's height, most opportunities/advantages still went to white men. So, I ask the following after a preface. MY PREFACE most white men today are complaining that they don't have the 99% level of opportunities/advantages that they had till the 1960s hit. Their argument is that non whites/non males/ non christians or other groups opportunities /advantages are uneven. But that means their not merely arguing about having the majority, whether they admit it or not , they are arguing about not having it all. And DEI to be blunt, does diminish their percentage of advantage or opportunity, it doesn't delete them having the majority, but their problem isn't in having the majority their problem is in others having anything at all. MY QUESTION Doesn't DEI lessen the opportunities to white male hetero christians, even if it doesn't or can't lead to a diminishing of said white male opportunity/advantages into a minority place? IN AMENDMENT You mention DEI being an illusion. I can't concur to that because I saw black people or non white male christian ~ who benefited from it. Was DEI through fiscal management or fiscal strategies? no. If by illusion you mean it wasn't something that was determined through the fiscal marketplace, I concur 100% to you. DEI was engined through media/social pressure/a set of elected officials trying to sate a voting base. DEI wasn't through the market place, so the moment, elected officials changes or social pressure lessened or the media made poisonous, DEI was in trouble of being maintained, and all three of said things happened. But it doesn't mean it is illusory. It isn't through the marketplace. But I must say what should be common knowledge, the problem in the usa with those who are not white male christians ~ is that all of their populaces have a heritage of financial absence based on the militaristic power of said white male chrsitians~ . To restate, I once spoke to a group of women, all business owners, having a conference on womens business. I was invited by a female friend, who yes owns a business, and I was offered the chance to speak. So I told the women the truth as a man. Male wealth doesn't come from education or hard work or any of the things they mentioned they needed to do.. It comes from cheating, it comes from abusing, it comes from legal crimes, enslaving people legally. So women trying to improve the financial condition of women will need that same reality. And I mentioned rockefeller center. The elder rockefeller wasn't a genius, didn't have some grand schooling. Didn't have a rich uncle to help him. But the elder rockefeller knew how to cheat, was in an environment where he could cheat, white male law enforcement has always allowed white males various criminal fiscal activity legal or not. Women don't have that. But if women are willing to cheat or scheme they will find the same financial levels as men. But if women think they can follow the law and have some complex financial plan. I told them , I know of many black business owners, all very nice people, none of the them broke the law, all of them have struggled and worked hard every day and none of them ever got to the great halls of money. The point in that retelling is, black fiscal wealth, female fiscal wealth, muslim fiscal wealth, indigenous fiscal wealth, any group in the usa not white male christian heterosexual ~ in the usa is temporally behind said white male ~ wealth, none of them can recover lost time through the rules or what schemes somebody suggested will work. Now some will always mention the white jew. But as I have said in this very forum, I was unwilling to search for the post for I am pressed for time, the white jewish populace is very small. And financially you can't relate the jewish populace in the usa which is maximum seven million people with white german american/circa forty million, black americans[dos +modern immigrant]/fifty two million, female americans/one hundred and sixty seven million. The global jewish population is fifteen million people:) Why do so many people speak of the jewish population as an example of anything? unless they plan on killing most of their people to be so small in populace? And no, the white jewish model can't work for larger populaces. The poor white trash who are mostly german americans are in a populace that has a six hundred percent larger need of resources. The black american populace so many including other blacks call lazy or in need of better thinking or some negative has a seven hundred percent larger need of resources. And I don't have to explain how much black wealth has been undermined by whites in the usa i hope. People talk about Tulsa but how much generational wealth has literally been destroyed by white terror in the usa. Is their a financial way to calculate that lose? i don't really know. By the following website. https://dqydj.com/income-by-race/ a third of a million black people make sixty thousand or more in the usa today. So that isn't bad. Remember, we are still an abused peoples by whites, even today. yes, their are more opportunities today but when you consider, all the black towns in the former confederate are in financially restrictive places, and said black people in towns have no where to go. Their are issues financially, that must be considered with black people in the usa, that whites, even if jewish don't have in 2026. Based on whitey as well https://www.pewresearch.org/religion/2021/05/11/economics-and-well-being-among-u-s-jews/ circa twenty six percent of white jews, who are simply white people of the jewish faith, have fifty to one hundred thousand, dollars Twenty five percent of seven million is, one million, and seven hundred and fifty thousand and this is from a white jewish populace that has never been denied business ownership, not merely in the usa but in the european countries that made the usa, has always been in the halls of money through banking, which offers them alot of connections that white abused minorities like the romani of europe/the gypsies never had. So I argue, in fifty years with hard work and accepting white abuse with a smile, the black wealthy in the usa will be as large in populace as the white jew in total, but that doesn't mean that the entire black populace in the usa can be wealthy absent access to slavery/genocide/or similar negative acts as tools of financial betterment. 02252026 Citation https://aalbc.com/tc/topic/12496-is-dei-still-needed/#findComment-80334 @ProfD 5 hours ago, ProfD said: DEI prevents white men from having it all but it doesn't put a dent in their privilege, advantages & allowances. dei prevents having it all, but it doesn't prevent them in having it all? do you realize your sentence here? 5 hours ago, ProfD said: Fifteen million Jews is 2X the population of NYC. no nyc has ten million people in it. 5 hours ago, ProfD said: Beyond money, Jews have a level of protection that isn't extended to other groups of people. this is not true, white jews are white, that is the protection. that is the problem with how people view them, white jews are white , yes white jews are a group in the white populace, but they are white and that is the protection 5 hours ago, ProfD said: That's part of the reason Jews are mentioned. They have benefited exponentially since their holocaust. they were heavy benefitters before then, the terror by german christians onto german jews was bloody but white jews in europe since constantine , emperor of rome in nova roma, had financial growth of a high level per their small populace. In moorish spain they had it. I argue they had more globally in pre nazi europe than after nazi europe, before nazi europe the white jew owned many things in europe and outside of it. The key variance today is israel . White jews financial reality is bloated. The numbers on the site I presented to you show the truth, the key to white jews isn't huge amounts of wealth but that a small populace again, fifteen million white jews compared to fifty two million black people in the usa is a huge difference. White jews owned black people. WHite jews killed native americans and stole their land. The most fiscally proftiable gang in prohibition was the white jewish purple gang. so... again, the people mentioning them aren't stating the parameters of their success. The people mentioning white jews are looking at white jews revenue but not the condition of their populace. mainland CHina has four to five million millionaires. Globally i think it is like twelve million. So the number of chinese , white asian, millionaires is bgger than the entire populace of white jews. https://www.statista.com/statistics/702759/china-number-of-millionaires/ BUT, the chinese populace isn't just millionaires, it is near two billion people, most of whom are dirt poor. Now, you and others idolizing the financial aspects of the white jewish populace , what do you suggest to diminish the quantity of fiscally poor chinese? should the chinese millionaires + billionaires kills the rest of the chinese? The chinese have more millionaires than the entire damn white jewish populace. So, now what? Again, large populaces can not be fiscally related to the white jew and anyone who tries it can't back up their stance by anything but stupidity. A community of ten people compared to a community of a thousand is not the same. The real reason people mention the white ew is cause many people are stupid and don't know to assess their own populace evenly to others. 02252026 Citation https://aalbc.com/tc/topic/12496-is-dei-still-needed/#findComment-80338 sted just now @ProfD Usa gives billions of dollars to egypt to, israel isn't alone in the money giving, many countries get usa money. andby 2026 this has been going on for decades. 02272026 Citation https://aalbc.com/tc/topic/12496-is-dei-still-needed/#findComment-80417 sted just now @Pioneer1 18 hours ago, Pioneer1 said: Is it still needed? I don't know what good it did in the FIRST place. Who are all of these Black folks who are being hooked up and given good paying jobs through Affirmative Action and DEI? Where they at? I wanna talk to them....lol. Infact, I hadn't even HEARD of "DEI" until a few years ago on the news when White Conservatives were railing against it. Same with Critical Race Theory. I guess whether you benefit from it or know about it or not depends on the circles you run in, lol. Affirmative Action....DEI...that's just shit you see and hear on television, but I don't see them even being USED let alone effective in real life. Working in the 80s, 90s, and beyond....the Black people I worked around were getting hired and fired like other races. Infact, Black folks were getting fired more than Whites were. Where was this "affirmative action"??? I had to apply to certain jobs and got hired or overlooked. I'm not sure how "affirmative action" or "dei" helped me. Don't point to a hand full of niggaz sitting at a desk somewhere in New York or Washington and say "Black folks" are benefiting from Affirmative Action or call them "DEI hires". That's only a handful out of MILLIONS of Black folks in the work force who have to apply and are subject to getting let go or demoted like others. Millions who are either unemployed or under employed.....where is DEI or Affirmative Action for them??? I'm beginning to believe that many of these programs exist ONLY to piss off White folks and justify their angry and hatred. Affirmative Action DEI Reparations Studies Critical Race Theory They don't really help Black folks or provide benefits to us. They don't even COME from us! They come from White folks who invent this shit. White folks made them up like straw men or targets......totally useless EXCEPT as something White racists can point to as examples of "reverse discrimination". Expand well... Each is distinct from the other. Affirmative Action is really, a federal level legal action designed to make it where . Remember the KErner Commission [ https://aalbc.com/tc/profile/6477-richardmurray/?status=2685&type=status ] . Affirmative action says, institutions dealing with the federal government and by top down state and counties and city governments have to open up their hiring practice. The problem is affirmative action doesn't handle private business affairs. When colleges take federal money, when city governments hire people, affirmative action is the tool to open up uneven hiring practices. DEI diversity equity and inclusion isn't about the government, it is about private enterprise, which evaded changing its practices with affirmative action in the past. The problem is, the USA has a free market capitalistic heritage, which means ownership has value. Ownership gives you power, this is the legacy of the enslavers. Even though over ninety percent of fiscal wealth is inherited, and over ninety percent of inherited wealth can trace its roots to whites using genocide to the first peoples plus enslavement to the black dosers , the modern legal code in the usa doesn't have a way of taking wealth and redistributing it for past crimes, ala no reparations as well. But what that means is, the only way to change private enterprise is through small measures with the hope that it will allow those known to be abused to take advantage and change the market environment. Reparations isn't about money, reparations is about repairing, but here is the problem. How do you repair a relationship that was never positive in the first place. The problem with reparations is that those who study it, are trying to find a way to make peace between two people who never had any in the first place. The history of black people is far older than almina. BUT, the start of BLACK DOSers from Canada to USA to Argentina to India to China is enslavement, it isn't even betrayal. And thus how do you repair losing everything? it can't be done. Money can't buy the past. Money can't buy the lost heritages. ... Money has limits. this is part of why blacks in usa and the other mentioned places have just embraced the places. Because all DOSers know, the past can not be reclaimed. The damage was too extensive, unless someone has a time machine, it can't be done. That heritage is what needs to be repaired, that can't be repaired. that was the whole point of the fiscal enterprise in all the oceanic enslavements, trans atlantic, trans indian, out of africa. to delete the heritage of black people to bind them to wherever they landed by truths that even if unshackled, learned, monied they couldn't undo. Critical Race Theory started by Bell has one agenda, to try and create a new culture that can fit all peoples in it. It is a Black STatian, you and @ProfD 's tribe functional desire since James Forten, who again, was a black fiscally successful business owner who fought for the usa to be born. The problem is, the desire by Forten was always very complex in a country like the usa where so many in it , are in it, not to be mixed or work together , but for various negativities. lets call it like it, the usa has only three groups of people from why they are here perspective. First Peoples who are original inhabitants and have suffered at the hands of unwanted immigrants, whether legal or not, or those descended from unwanted immigrants constantly Black DOSers who never wanted to be here and were bred and enslaved till this hell hole is all they know Immigrants who are the fiscal poor/unwanted/dregs from various parts of the world , starting with europe who never would had left the country they came from if rich/powerful/safe. So no one is in the usa cause they want to be part of an interracial body. No one. thus why, bell and others desires always fall flat. The truth is a powerful things. But, you have four different things. A legal tool to even out the demographics of the federal government, which I argue have worked. A soft tool that couldn't lead to permanancy in changing the private sector A bunch of people trying to figure out how to repair the unrepairable A bunch of people trying to figure out how to design a culture that no one is present/purposed for be embraced by all. These are four unique things. 02282026 Citation https://aalbc.com/tc/topic/12496-is-dei-still-needed/#findComment-80457 osted just now @Pioneer1 2 hours ago, Pioneer1 said: I haven't had a government job. Maybe that's why I didn't see the effect of it. I applied for many government jobs and am qualified to get them, but still didn't get hired despite putting down my race...lol. Not sure what was going on. exactly, most black people didn't. The private sector used human resource departments to avoid the lawsuits by saying they have jobs open to all, even though as a number of recent cases have proven, this was to cover them keeping the same nepotistic or phenotypically biased hiring practices. And since most black people still live in the confederate states, well I don't have to explain how louisiana/mississippi/georgia/south carolina/virginia/alabama/florida/arkansas/tennessee white governments would not hire black people , and with the structure of the federal government, states hiring is hard to make a federal issues without blunt evidence. So between black people living in white states that don't hire black people in government jobs outside black elected officials having the power to + white private sector firms using human resources to dodge civil rights act lawsuits while maintaining their pro white hiring practices through nepotism or anti black hiriing practice meant most blacks didn't financially benefit. And those who did became the token blacks working at every white firm in the usa that couldn't afford or wanted to evade the lawsuit. 2 hours ago, Pioneer1 said: Ok, thank you for clarifying that. I was getting ready to send your ass to Haiti, but I change my mind now....lol. hilarious:) You didn't realize that? I ponder how you couldn't realize that?

Economic Corner - profitability of an artist My Thoughts From 70,000 to 80,000 was what jane austen made. Happy belated birthday to her. When I think of artist in general who have made more after death than alive the list is long and that includes many Black artist. I think Basquiat is the example that stings the most cause Jean Michel's artform, streetart by many blacks to this day is deemed inappropriate , evil, low quality, and yet , on the pieces of wood or metal , if you have a Basquiat original, you can earn millions in a sale. But the lesson from Jane Austen is clear, the financial value of an artist work is not determinable. It is completely relative to a time or place , so it can't be judged on even value or in comparison , only in the moment. NOTE As a poet I enjoy phyllis Wheatley, though some of her messages or her style I don't care for as much. late 1700s early 1800s black authors https://blog.genealogybank.com/10-notable-african-americans-in-17th-18th-century-history.html + https://www.nysoclib.org/blog/more-black-writers-1700s U.R.L. https://www.pbs.org/newshour/show/jane-austen-fans-honor-british-novelists-legacy-250-years-after-her-birthVIDEO TRANSCRIPT Geoff Bennett: On this Valentine's Day, if you're looking for love, may we suggest you go dancing? After all, as the British romantic novelist Jane Austen wrote in her most popular work, "Pride and Prejudice," to be fond of dancing is a — quote — "certain step towards falling in love." This year, Jane Austen fans are celebrating 250 years since her birth, and in her homeland of England, they're expecting a tourist boom, as special correspondent Malcolm Brabant reports for our arts and culture series, Canvas. * Actor: Mr. Darcy, allow me to present this young lady to you. * Actor: She is the most beautiful creature I have ever beheld. * Actor: She's not handsome enough to tend to me. * Malcolm Brabant: In this jubilee year, expect a resurgence of "Pride and Prejudice," widely considered to be Jane Austen's finest creation. * Kathryn Sutherland, University of Oxford: She's probably standing shoulder to shoulder with Shakespeare. * Actress: The more I know of the world, the more I am convinced that I shall never see a man who might I can truly love. * Kathryn Sutherland: They are works packed with emotional intelligence of the kind we get from Shakespeare, in fact. * Actress: You are the loveliest girls I ever set eyes on. Can you not get them married Mrs. Dashwood? * Kathryn Sutherland: She also was a pioneer of the novel. She developed the psychological novel. * Malcolm Brabant: Kathryn Sutherland is professor of bibliography and textual criticism at Oxford University and a leading authority on Jane Austen. * Kathryn Sutherland: She brought women into the novel in a probable and realistic way. Her achievements were huge. * Malcolm Brabant: But Austen's genius wasn't properly recognized until long after her death. Jane Austen's six novels only earned her the grand total of between $70,000 to $80,000 in today's money. * Actress: Look at them, five of them without dowry. What's to become of them? * Actor: Perhaps we shall drown some of them birth. * Malcolm Brabant: Her characters were consumed with the need to achieve financial security. And yet Jane Austen herself died in relative poverty. How ironic that she spawned an industry worth hundreds of millions of dollars. Visitors are expected to flock to this house, where Austen succumbed to illness at the age of 41. Richard Foster from Winchester College is preparing a commemorative exhibition. * Richard Foster, Winchester College: Three days before her death, she dictated a poem to her sister, Cassandra . So even then she was well enough to carry on writing. And it's a very funny poem. * Malcolm Brabant: Despite being impoverished and relatively obscure, Austen was buried in one of Europe's grandest cathedrals. * Canon Roly Riem, vice-dean, Winchester Cathedral: It's remarkable that Jane is buried in this cathedral because you wouldn't expect that to happen. But she is here and she's a focus of an amazing worldwide devotion to her and her writings and all that she's left us. * Malcolm Brabant: Canon Roly Riem is vice-dean of Winchester Cathedral. * Canon Roly Riem: When we have had a book to remember her, the last big anniversary we have had, they wrote sometimes pages in it just saying how much Jane had changed their lives, the difference it made to their outlook or even their career. * Lizzie Dunford, Director, Jane Austen’s House: This house, Jane Austen's house, is hugely significant. * Malcolm Brabant: Thirty miles from Winchester is the village of Chawton that was a haven for the young writer. Lizzie Dunford runs this 19th century time capsule. * Lizzie Dunford: So it's a huge period of intense creativity that is made possible and enabled by the creative sanctuary, the security that this house gives. So it has that intense literary significance. * Malcolm Brabant: And it's in the dining room that Austen's disciples gaze upon the wellspring of her creativity, the writing table. * Lizzie Dunford: Austen described her novels as her darling children, as her children. They come from this, from their nursery and their cradle, out into that wider world, and they're now read in every corner of the world. * Malcolm Brabant: Another stop on the Austen trail is Bath, where Actress Lauren Falconer portrays the heroine of "Pride and Prejudice." * Lauren Falconer, Actress: Jane Austen is an incredible female writer and she was so ahead of her time in what she was writing. I play Elizabeth Bennet, who is an obstinate, headstrong girl, but I also think Jane was very subtle in the ways that she was trying to make changes for women in her time period. * Malcolm Brabant: Each summer, thousands of aficionados flock to Bath for the annual Jane Austen Festival. Tourist chief Catherine Davies says this year's event will be spectacular. * Kathryn Davis, Managing Director, Visit West: I think it's an opportunity for people to dress up, to feel that they're part of history maybe, and with a backdrop like this that looks like a film set, what better place to do it in? * Malcolm Brabant: Actor Martin Williamson understands why, in these turbulent times, Austen devotees seek to escape into her world. * Martin Williamson, Actor: It seems gentler then, a much gentler time, not as complicated as it is living today. But, of course, it was a very strict social structure, so if you were born at the bottom of the pile, there was no way you could really ascend like today. Especially in places like the United States, you can make it. You're encouraged. * Malcolm Brabant: For vlogger and podcast host Izzy Meakin, the jubilee festival will be the highlight of the year. * Izzy Meakin, Podcast Host, "What the Austen?": You read her books and you can recognize people in your own life, so it doesn't matter that these were written 200-plus years ago. You can still see people that you know. You're like, wow, I know someone like that all or I can see myself in those characters. I think that's the real — a real testament to her writing and how incredible she was. * Malcolm Brabant: That enthusiasm is shared in Oxford University's august Bodleian Library, where Kathryn Sutherland examines Austen's only surviving manuscript of the novel she never finished. * Kathryn Sutherland: She seems to work very frugally. As you will see, she writes onto small pieces of paper and she writes to the very limits of that paper, so she leaves very little space. So her assumption is that this is a draft that's going to work first time. * Malcolm Brabant: The manuscript was bought at auction in 2011 for over a million dollars to preserve for the nation. * Kathryn Sutherland: Oh, it's magical. It's absolutely magical just to think that Jane Austen touched this, that Jane Austen worked on this. It's a very intimate experience. A manuscript is like a writer's fingerprint, or it's like getting inside the laboratory and finding out how they create. * Actress: Is he handsome? * Actress: He's single. * Actress: Oh, my goodness. Everybody behave naturally. * Actor: Mr. Collins at your service. * Malcolm Brabant: Given she was ahead of her time, how would Jane Austen have navigated the 21st century's complex romantic minefields with all their permutations? * Izzy Meakin: I think sometimes it can seem like it's much more complicated now. Zack Pinsent, Costume Designer: Here's to you. And here's to me. May we never disagree. But if we do, to hell with you. And here's to me. * Izzy Meakin: But I think something that Jane Austen would really celebrate is the choices we have now, the freedom when it comes to love. We can love how we want to and we can love who we want to. * Malcolm Brabant: After all, the lesson that Austen imparts is that the path to true love requires overcoming pride and prejudice. For the "PBS News Hour," I'm Malcolm Brabant in Chawton, Hampshire. Prior Edition: https://aalbc.com/tc/topic/11498-economiccorner017/ post mortem money POST URL https://aalbc.com/tc/topic/11502-economiccorner018/ PRIOR EDITION https://aalbc.com/tc/events/event/200-economic-corner-17-02222025/ NEXT EDITION https://aalbc.com/tc/events/event/202-economic-corner-19-02232025/ 02252026 Citation https://aalbc.com/tc/topic/12495-what-is-the-future-of-writing-as-a-profitable-activity/#findComment-80322 osted just now @ProfD On 2/23/2026 at 9:24 PM, ProfD said: Most people consume the cheapest bottled water than can find on sale. However, there's still higher end bottled water on store shelves too. There will always be a few writers who can make money with their skill & creativity. true and if yu look at the industry of writing, writers with huge fanbases are constantly popular, putting out content, so ... it is interesting @aka Contrarian On 2/23/2026 at 10:26 PM, aka Contrarian said: As much as some are trying to perpetuate the skill of cursive penmanship, it is slowly sinking below the horizon of modern day communication and will soon become a lost art, I fear. Story telling might inherit a better fate and keep the fiction writer a float in the sea of imagination. I have no regrets about not being around to experience the brave new AI world of the future. how do you know you will not be here? the AI future may start tomorrow

China plan to build the biggest solar array in space. why solar power in space? the light from the sun , or any star, is manipulated , usually lessened when a planet's atmosphere is involved. The earth's atmosphere is why light from the sun doesn't arrive as potently as it is outside the earth's atmosphere, but this blockage maintains life on earth. Water or air would get too hot , the temperature cycle of earth would die without that atmosphere. But in space, the unfiltered solar energy makes it the standard source for most or all human craft since the beginning of the human craft traveling outside earth with sputnik in the 1900s. the Japanese will do a test of the concept, like nuclear powered aircraft, studies are done and based on their feasibility things will be continued. My opening question is, how can a high energy beam not negatively influence earth's atmosphere with the heat. Basically, solar panels will charge a battery and the battery will emit microwaves to earth , because of the speed of the satellite + the lack of a more efficient pointing apparatus on the satellite, a set of arrays over 25 miles will be used to collect the energy. It will take several days for the battery to recharge. They already tested the concept on earth with a plane using the same solar panel + battery, smaller in scale. Check the links below. The first thing I notice is the lack of a focus beam. I think to make the atmosphere not manipulated they are emitting with less focus thus it needs a wide array , geographically, to transmit the energy. I think it is sensible for the earth which can't afford the atmosphere to get hotter by electromagnetic emissions. This is being sold as a green energy but I disagree. I think this will be how the moon bases or mars operations are powered because even though electromagnetic radiation that contact the surface of the moon or mars is less refracted or reflected than on earth, the electromagnetic radiation that travels across the stars is a higher energy an undistilled variant that will always generate more energy. Contact for more information yanagawa-hiroki@jspacesystems.or.jp CITATIONS URL https://www.livescience.com/space/space-exploration/china-plans-to-build-enormous-solar-array-in-space-and-it-could-collect-more-energy-in-a-year-than-all-the-oil-on-earth TEXT China plans to build enormous solar array in space — and it could collect more energy in a year than 'all the oil on Earth' News By Ben Turner published January 14, 2025 China has announced plans to build a giant solar power space station, which will be lifted into orbit piece by piece using the nation's brand-new heavy lift rockets. Chinese scientists have announced a plan to build an enormous, 0.6 mile (1 kilometer) wide solar power station in space that will beam continuous energy back to Earth via microwaves. The project, which will see its components lofted to a geostationary orbit above Earth using super-heavy rockets, has been dubbed "another Three Gorges Dam project above the Earth." The Three Gorges Dam, located in the middle of the Yangtze river in central China, is the world's largest hydropower project and generates 100 billion kilowatt-hours of electricity each year. According to one NASA scientist, the dam is so large that, if completely filled, the mass of the water contained within would lengthen Earth's days by 0.06 microseconds. The new project, according to lead scientist Long Lehao, the chief designer of China’s Long March rockets, would be "as significant as moving the Three Gorges Dam to a geostationary orbit 36,000km (22,370 miles) above the Earth." "This is an incredible project to look forward to," Long added during a lecture in October hosted by the Chinese Academy of Sciences (CAS), as reported by the South China Morning Post. "The energy collected in one year would be equivalent to the total amount of oil that can be extracted from the Earth." Despite recent advances in the cheapness and efficiency of solar power, the technology still faces some fundamental limitations — such as intermittent cloud cover and most of the atmosphere absorbing solar radiation before it hits the ground. Scientists have proposed a number of Space-Based Solar Power (SBSP) technologies which would continuously collect and transmit energy from sunlight in space, where it is 10 times more intense than at Earth's surface. But building an appropriately giant array would take many launches, meaning that most proposals failed to get off the ground. To overcome this challenge, Long and his team are working on the development of the Long March-9 (CZ-9) reusable heavy-lift rocket, which will have a lift capacity of at least 150 tons (136 metric tons). Besides being used for satellites, the rocket will also be key to China's plans to reach the moon — where it wants to build an international lunar research base by 2035. China isn't the only nation eyeing plans for solar satellite arrays. The U.S. companies Lockheed Martin and Northrop Grumman, the European Space Agency, and Japan's JAXA space agency have also been investigating the technology, with the latter scheduling the launch of a small, proof-of-concept satellite this year to assess its feasibility. URL https://www.space.com/japan-space-based-solar-power-demonstration-2025 TEXT Japanese satellite will beam solar power to Earth in 2025 News By Tereza Pultarova published April 19, 2024 Japan's upcoming space-based solar power demonstration will beam power to Earth next year. LONDON — Japan is on track to beam solar power from space to Earth next year, two years after a similar feat was achieved by U.S. engineers. The development marks an important step toward a possible space-based solar power station that could help wean the world off fossil fuels amid the intensifying battle against climate change. Speaking at the International Conference on Energy from Space, held here this week, Koichi Ijichi, an adviser at the Japanese research institute Japan Space Systems, outlined Japan's road map toward an orbital demonstration of a miniature space-based solar power plant that will wirelessly transmit energy from low Earth orbit to Earth. "It will be a small satellite, about 180 kilograms [400 pounds], that will transmit about 1 kilowatt of power from the altitude of 400 kilometers [250 miles]," Ijichi said at the conference. One kilowatt is about the amount of power needed to run a household appliance, such as a small dishwasher, for about an hour, depending on its size. Therefore, the demonstration is nowhere near the scale required for commercial use. The spacecraft will use a 22-square-foot (2 square meters) onboard photovoltaic panel to charge a battery. The accumulated energy will then be transformed into microwaves and beamed toward a receiving antenna on Earth. Because the spacecraft travels very fast — around 17,400 mph (28,000 km/h) — antenna elements will have to be spread over a distance of about 25 miles (40 km), spaced 3 miles (5 km) apart, to allow enough energy to be transmitted. "The transmission will take only a few minutes," Ijichi said. "But once the battery is empty, it will take several days to recharge." The mission, part of a project called OHISAMA (Japanese for "sun"), is on track for launch in 2025. The researchers have already demonstrated wireless transmission of solar power on the ground from a stationary source, and they plan to conduct a transmission from an aircraft in December. The aircraft will be fitted with an identical photovoltaic panel as will be flown on the spacecraft and will beam down power over a distance of 3 to 4 miles (5 to 7 km), according to Ijichi. From concept to reality Space-based solar power generation, first described in 1968 by former Apollo engineer [ https://www.space.com/26175-peter-glaser-solar-power-satellite-obituary.html ] Peter Glaser, has been considered science fiction. Although theoretically feasible, the technology has been seen as impractical and too costly, as it requires enormous structures to be assembled in orbit to produce the required power output. But according to the experts speaking at the conference, that situation has changed as a result of recent technological advances and the urgency to decarbonize the world's power supply to thwart climate change. Unlike most renewable power generation technologies used on Earth, including solar power and wind energy, space-based solar power could be available constantly, as it would not depend on weather and the time of the day. Currently, nuclear power plants or gas- and coal-fired power stations are used to cover demand when the wind stops blowing or after sunset. Improvements in technology could help partially solve the problem in the future. But some pieces of the puzzle are still missing to secure a seamless carbon-neutral power supply by the middle of this century as stipulated in international climate change agreements. Developments in robotic technologies, improvements in the efficiency of wireless power transmission and, most importantly, the arrival of SpaceX's giant rocket Starship could allow space-based solar power to become a reality, the experts said at the conference. Last year, a satellite built by Caltech engineers as part of the Space Solar Power Demonstrator mission beamed solar power from space for the first time. The mission, which concluded in January, was celebrated as a major milestone. Many more space-based solar power demonstration projects are in the pipeline. The technology is studied by space and research agencies all over the world, including the European Space Agency, the Defense Advanced Research Projects Agency and the U.S. Air Force. Commercial companies and startups are also developing concepts, harnessing the availability of Starship and the emergence of advanced space robotics. However, not everyone is enthusiastic about the potential of space-based solar power. In January, NASA released a report questioning the feasibility of the technology. The difficulty and amount of energy required to build, launch and assemble orbital power stations mean the energy they produce would be too expensive — 61 cents per kilowatt-hour, compared with as little as 5 cents per kilowatt-hour for Earth-based solar or wind energy. In addition, the overall carbon footprint of the power production and the amount of greenhouse gas emissions generated by rockets taking those assemblies into orbit make space-based solar power much less climate-friendly than technologies used on Earth. For example, a gigawatt-scale spaceborne solar power station, such as the CASSIOPeiA concept plant proposed by the U.K. firm Space Solar, would need 68 Starships to get to space. URL https://www.jspacesystems.or.jp/en/news/4968.html TEXT Can not copy and past. But check the URL immediately below, and if it doesn't work i have the pdf in my public folder linked immediately after that URL https://www.jspacesystems.or.jp/jss/wp-content/uploads/2025/01/1stTestReport_2024.12.24en-1.pdf URL PDF Demonstration information in my public storage URL Video 1 Video 2 PAID ARTICLE URL- I couldn't see but may have better information https://www.scmp.com/news/china/science/article/3294091/china-plans-build-three-gorges-dam-space-harness-solar-power This is just for me to giggle:) but don't say nobody warned you Prior edition: https://aalbc.com/tc/topic/11497-economiccorner016/ solar powered earth POST URL https://aalbc.com/tc/topic/11498-economiccorner017/ PRIOR EDITION https://aalbc.com/tc/events/event/199-economic-corner-16-02222025/ NEXT EDITION https://aalbc.com/tc/events/event/201-economic-corner-18-02232025/ 02252026 Citation https://aalbc.com/tc/topic/12494-would-you-invest-in-solar-power-in-space/#findComment-80323 osted just now @ProfD On 2/23/2026 at 9:31 PM, ProfD said: Space will be domain of the wealthy. Non-wealthy people have no reason to be concerned with outer space. They won't be able to afford any aspect of it. Those who can barely afford a place to live on this planet need not think about hopping up off the ground & going to space. At best, less than wealthy folks might be able to solar power similar to using public Wi-Fi. Expand we will see, but the history of the many oil rushes and many godl rushes and silver rushes in the usa prove that once the ability to get natural resources occurs, even with machines, wealthy people will want humans sent out there. part of the problem in outer space is energy/control systems. First, it takes time to send an electromagnetic signal. The earth has a diameter of circa eight thousand miles. Mars is nearest earth when the earth is circa thirty six million miles away. That means four point five thousand earths are between the earth and mars in a straight line when mars is cloest in its elliptical orbit. that distance means a time delay on signals. The mission around the moon is complex. the moon is two hundred and thirty nine thousand miles from the earth at times in its orbit about the earth which means thirty earths can be lined up between the earth and the moon. These distances are massive, and since star trek or star wars technology does not exist, current human technology has inherent weaknesses with the distances. if a machine breaks down on the moon, whose going to fix it? even if you have another machine, if it has any malfunction or inability to fix the other machine, it will not be easy to adjust it. And because of weight, and the influence that has on gravity, it is not easy to put a supercomputer or some modern chemical manufacturing plant in space. these things are very heavy. My point is , engineering wise, human beings will be needed. The international space station will be closing in a few decades, while the chinese already have their space station up there. But these space stations while top of the line in terms of modern tech are not full of amenities. the rich don't want to be in space. But i can see rich people offer chances for poor people to leave, how was the usa born but the english government seeing a chance to get rid of its poor people.

White south africans making a public statement against immigration to the USA is interesting. In a humanity where most in south America/Africa/asia/western Europe/Caribbean are looking to travel to wealthier shores in USA or Western Europe, the white European minorities in lands with mostly non white European peoples want the opposite. To the white Europeans in South Africa, they are an ideal case of loving a convenient financial environment. While South Africa's growth is clearly to Black south africans, white south africans will rather the land or generational wealth their forebears took for them then to build up in even competition new lives in a usa absent first people/native American land to steal or black africans able to be ripped from their home and enslaved. Many Black DOSers, not Black Willing Immigrants, in the United States of America, suggest the USA is the best country to build wealth but based on the white south African, is that true? Now any can argue , white south africans are not in the same situation as Black Descended of Enslaved to the USA. And, that is true, as said above white south africans forebears relationship to south Africa is as an unwanted willing immigrant by the first peoples of what will become south Africa and a financial allowance or opportunity supported by arms totally in their favor. Black descended of enslaved to the u.s.a. relationship to what will become the u.s.a. is as a unwilling/enslaved immigrant by the invading peoples who took the land that will be the u.s.a. or the greater American continent from it's First peoples and were using said enslaved immigrants to support their financial grandeur. No the two situations are not the same but to black descended of enslaved people who leave the usa to betterment, you can see why it is usually individual. It is hard getting a group of people to financially prosper as a minority absent the ability to commit crimes legally. When you look at whites in south Africa or white jews in Palestine or white jews/italians in the usa you see the modern examples of this ability of a minority populace to thrive aside the ability to commit crimes or abuses to a larger populace absent the said majority populace ability to violently retaliate. Whites in south Africa took black peoples land, forced black people to work for them. White jews in Palestine was given arms by the usa, was given a legal authority by the british against palestinean desires as Palestine was a british protectorate.White jews/Italians in the usa made the founding fortunes of their communities during prohibition, as whites being completely free to operate illegally and criminally in liquor sales or gang violence while white governments aided or abetted all their crimes while the same white governments hammered all attempts by blacks to operate illegally or criminally. So, it is clear what blacks descended of enslaved from the American continent groups always lacked in the past making said groups financial reality in modernity inevitable. URL referral https://www.msn.com/en-xl/africa/top-stories/no-thanks-white-south-africans-turn-down-donald-trump-s-immigration-offer/ar-AA1yKIns?ocid=BingNewsSerp&cvid=da5dfcd61408487b9d92241179cc6bcd&ei=28 ARTICLE TEXT 'No thanks', white South Africans turn down Donald Trump's immigration offer What you need to know: Trump on Friday signed an executive order to cut US aid to South Africa, citing an expropriation act that President Cyril Ramaphosa signed last month aiming to redress land inequalities that stem from South Africa's history of white supremacy. The order provided for resettlement in the US of "Afrikaners in South Africa who are victims of unjust racial discrimination" as refugees. Thank you for reading Nation.Africa US President Donald Trump's offer to rehouse white South Africans as refugees fleeing persecution may not spur quite the rush he anticipates, as even right-wing white lobby groups want to "tackle the injustices" of Black majority rule on home soil. Trump on Friday signed an executive order to cut US aid to South Africa, citing an expropriation act that President Cyril Ramaphosa signed last month aiming to redress land inequalities that stem from South Africa's history of white supremacy. IN AMENDMENT a map of first people losses https://aalbc.com/tc/profile/6477-richardmurray/?status=2844&type=status Prior Edition: https://aalbc.com/tc/topic/11488-economiccorner015/ Minority Strength in fiscal capital allowance POST URL https://aalbc.com/tc/topic/11497-economiccorner016/ PRIOR EDITION https://aalbc.com/tc/events/event/197-economic-corner-15-02172025/ NEXT EDITION https://aalbc.com/tc/events/event/200-economic-corner-17-02222025/

Nina Simone music, if bold it is a cover to a white written song. if underscore it is a cover of a black song. Comprehend, covers are unique things, it matters who sings and provides instrumentals to any music. Don't anyone tell you otherwise. I Loves You Porgy I Put A Spell On You - complete album My Baby Just Cares For Me Little Girl Blue NOTE: Because she had sold her rights outright for $3,000, Simone lost more than $1 million in royalties (notably for the 1980s re-release of her version of the jazz standard "My Baby Just Cares for Me") and never benefited financially from the album's sales Brown Baby Brown Baby Oscar brown jr Brown baby brown baby As you grow up I want you to drink from the plenty cup I want you to stand up tall and proud And I want you to speak up clear and loud Brown baby brown baby brown baby As years go by I want you to go with your head up high I want you to live by the justice code And I want you to walk down freedom's road You little brown baby So lie away lie away spleeping lie away singing Lie away sleeping lie away safe in my arms Till your daddy and you mama protect you? nd keep you safe from harm Brown baby It makes me glad you gonna have things that I never had When out of men's heart all hate is hurled Sweetie you gonna live in a better world Brown baby brown baby brown baby Lyrics by OScar Brown Sin and Soul full album of OScar Brown Zungo Someone please find them, he is speaking a nigerian tongue by Michael Olatunji Afro PErcussion full album by Michael Olatunji Mississippi Goddam Mississippi Goddam Alabama's gotten me so upset Tennessee made me lose my rest And everybody knows about Mississippi Goddam Alabama's gotten me so upset Tennessee made me lose my rest And everybody knows about Mississippi Goddam Can't you see it, can't you feel it It's all in the air I can't stand the pressure much longer Somebody say a prayer Alabama's gotten me so upset Tennessee made me lose my rest And everybody knows about Mississippi Goddam If you know this song You can join in with us Hound dogs on my trail School children sitting in jail Black cat cross my path I think every day's gonna be my last Lord have mercy on this land of mine We all gonna get it in due time I don't belong here, I don't belong there I've even stopped believing in prayer Don't tell me, I tell you Me and my people just about due I've been there so I know They keep on saying "Go slow!" Well, that's just the trouble "Too slow" Washing the windows "Too slow" Picking the cotton "Too slow" You're just plain rotten "Too slow" Too damn lazy "Too slow" Thinking's crazy "Too slow" Where am I going What am I doing I don't know I don't know Just tryin' to do my very best Stand up be counted with all the rest Cause everybody knows about Mississippi Goddam You afraid of that word? Picket lines, school boy cots They try to say it's a communist plot All I want is equality For my sisters, my brothers, my people and me You lied to me all these years You told me to wash and clean my ears And talk real fine just like a lady You'd stop calling me Sister Sadie Oh but my country is full of lies You're all gonna die and die like flies Cause I don't trust you any more You keep on saying "Go slow!" That's just the trouble Too slow Desegregation Too slow Mass participation Too slow Reunification Too slow Do things gradually Too slow But bring more tragedy Too slow Why don't you feel it Why don't you see it I don't know I don't know You don't have to live next to me Just give me my equality Cause everybody knows about Mississippi Everybody knows about Alabama Everybody knows about Ronald Reagan Everybody knows about Margareth Tatcher Everybody knows about Ronald Reagan Everybody knows about Jesse Jackson Everybody knows about Michael Jackson Everybody knows about Everybody knows about Mississippi Goddam Goddam Lyrics by Nina Simone Nina Simone In Concert Full Album Four Women My skin is black My arms are long My hair is woolly My back is strong Strong enough to take the pain Inflicted again and again What do they call me? My name is Aunt Sarah My name is Aunt Sarah, Aunt Sarah My skin is yellow My hair is long Between two worlds I do belong My father was rich and white He forced my mother late one night What do they call me? My name is Saffronia My name is Saffronia My skin is tan My hair is fine My hips invite you My mouth like wine Whose little girl am I? Anyone who has money to buy What do they call me? My name is Sweet Thing My name is Sweet Thing My skin is brown My manner is tough I'll kill the first mother I see My life has been rough I'm awfully bitter these days 'Cause my parents were slaves What do they call me? My name is Peaches Lyrics by Nina Simone Ain't Got No, I Got Life NOTE: A medley of two songs "Aint Got No" + " I Got Life" To be Young Gifted and Black Young, gifted and black Oh what a lovely precious dream To be young, gifted and black Open your heart to what I mean In the whole world you know There's a million boys and girls Who are young, gifted and black And that's a fact! You are young, gifted and black We must begin to tell our young There's a world waiting for you Yours is the quest that's just begun When you feel really low Yeah, there's a great truth that you should know When you're young, gifted and black Your soul's intact To be young, gifted and black Oh, how I've longed to know the truth There are times when I look back And I am haunted by my youth Oh but my joy of today Is that we can all be proud to say To be young, gifted and black Is where it's at Is where it's at Is where it's at Lyrics by Nina Simone + Weldone Irvine LIVE 1969 - She introduced the song on August 17, 1969, to a crowd of 50,000 at the Harlem Cultural Festival, captured on broadcast video tape and released in 2021 as the documentary film Summer of Soul. I admit I like this song, lets have another live recording, Nina Simone was done with the recording industry anyway Audio Recording Yes, I can't listen to be young gifted and black and not shed a tear thinking on black people the world over against the various whites, and one more tear for my own tribe in the village in their naturally dangerous peccadillium/place of sin/U.S.A. Nina Simone on Malcolm X Malcolm X to me, was the most important , the most important spokesman we have ever had, in this country for black people, bar none, and everything he said i agreed with, everything he said, i agreed with, and I was absolutely... I am still not over the fact that he is gone, and I really would like to say that I think it is black people's fault that he is dead, just as it is black peoples fault that martin luther king is dead, they didn't give them any protection, they ran them away, they followed them, but they didn't protect them, they willing to die but they not willing to kill, hey man, I get upset when I think about it, I get upset, and that is one of the reasons I don't live in this country, cause there is no protection https://www.tumblr.com/afriblaq/764152297355984896 https://www.tumblr.com/afriblaq/764152297355984896 my thoughts Can I get an Amen. But Nina Simone's point is huge here. What Nina Simone is really saying is the Black Church, Historical Black Colleges+ Institutions, Black elected officials, Black business owners didn't protect Black advocates or black artists, and she is correct. I love how she said black people ran both Malcolm + martin away which I know from black people who lived in the 1960s is true, but you never hear from black people alive then in media today. The only two groups that honestly talked of honest protection were the panthers+ nation of islam. but the nation of islam outside Malcolm's leadership did it only for members. While the panthers were criminalized by black churches/black elected officials/black business owners for their stance on defense. So many black artist+ advocates were injured or attacked in the usa and never had any protection, and the black church being the most important black institution had to be most responsible.