The assassination of Abraham Lincoln 150 years ago this month was the precursor to the domestic terrorism that would be unleashed on black Americans for the next century.
What does it mean for hundreds of thousands of prisoners in the United States when the world's most famous prisoner faces possible death from medical neglect in a Pennsylvania prison?
Among their requests is that the victims' cases be reviewed for civil rights violations, that the involved police departments undergo patterns and practices investigations, and that those found to be consistently in violation be subject to monitoring and necessary restructuring.
The word of a Black person is disregarded by White America in a similar way. No matter how bad the injustice, no matter how compelling the testimony, there is always someone in a position of authority ready to ignore or disbelieve anything that comes out of a Black person's mouth.
How long can we expect to see new reports and videos of unarmed black men being shot by police in incidents all across the country? Aspects of two of the most recent shootings in Tulsa, Okla. and North Charleston, S.C., suggest some answers to the question, and the answers do not bode well.
When I was younger the search for this mythical creature was tedious, comical, painful, bemusing, exhausting, frustrating, confusing and disconcerting. Now that I'm in my late 50s and look back on the guys I kicked to the curb as well as the ones I let get away, I feel mostly empowered. And this is why.
Experiments like Dr. Solomon's aim to create a visual representation of what beauty means, but instead it just reinforces Eurocentric beauty standards that have long been valued over other traits.
Tonight on PBS, I'm joined by NAACP Image Award and SAG Award-winning actor Isaiah Washington, star of the upcoming feature, Blackbird. In the film, which he also produced, Isaiah plays the father of a devout Christian teenager struggling with his true identity.
Walter Scott was apparently unarmed and no threat to Michael Slager. But as in so of many of these cases, that means little as long as police officials, much of the press, and the public want and is prepared to believe otherwise when the Walter Scotts are killed.
Several evaluations of black and white wealth in America have surfaced over the past several months. Yet, these tools only tell part of the economic story. To truly understand the difference in economic access, you must look at the top of American wealth, and be honest about what you find.
President Obama's announcement of new tax benefits for middle class and working families, highlighted in the State of the Union and detailed in his FY 2016 budget, shines a light on the tax code in a way that demands our attention and engagement.
I don't get it. Sure, the icebreaker Starbucks tried to use was hokey and goofy, but that doesn't fully explain the furor of our collective reaction. Why do we find the simple act of talking about race so threatening when something is vastly, vitally wrong with our country?
Racial and ethnic disparities in healthcare are complex and there is no one silver bullet. That's why we will continue to work in every area of our healthcare system to find and eliminate racial and ethnic barriers to good health.
The situation that led to the killing of Walter Scott by a white police officer in North Charleston, South Carolina is indicative of the crisis created by the growing criminalization of poverty in America and the persistent de-humanization of black people.
Whether you are a Hollywood executive, a corporate sponsor, a progressive Police Chief, or a common Jane or Joe that wants to see a less divided society, we will all play a role in creating a new and better future. If we choose to cast ourselves in that role.
Fighting for black health progress is not mutually exclusive from the overall fight for making black lives matter. In fact, it might just be as pivotal to the overall movement as systematic equal opportunity and justice.
Slager may indeed wind up being the very rare case of a cop convicted of murdering in cold-blood an unarmed black man. If past history is any guide, though, just don't bet on it yet.
We cannot continue to allow citizens to be killed every day in cold blood because we consider confrontations between cops and criminals to be "natural."
BlackVoices.com: Congratulations on being number one this week. How did you feel when you heard the news?
Marsha Ambrosius: I screamed and then I realized that I have a whole tour coming up, so I had to kind of repress it. So, I've been doing this weird squeal thing. I've been smiling all day. I've got a headache because I've been grinning from ear to ear.
BV: Originally, your solo debut was supposed to come out with [Dr. Dre's] Aftermath Records. Did the wait to get the music out frustrate you?
MA: Well, in 2006 when Natalie left the group to pursue solo endeavors, I ended up at Geffen/Interscope, and Dr. Dre came in because he saw me in a Floetry show and signed me as a solo artist. I always rolled with the punches and said, "Okay, this is the next opportunity; I will see where it takes me." But I realized that people really make up who they think you are as a person and I thought, "Wow, I was sitting up there singing the whole time, but no one really knows me." I said, "Let me work on that." In doing so much writing with everyone, J Records approached me to sign with them, and they were completely aware of what I wanted to do as an artist. I ran with that and here we are at #1 and #2.
BV: Was it difficult to brand yourself as a solo artist coming off of Floetry and being in this successful group?
MA: I'm so thankful for Facebook and Twitter because people can access you directly. These are real people and not journalists fishing for a story. These are people who have lived with your music for a long time. So, in doing so, I've been able to reach the people and not do a tabloid story or a VH1 reality series based around what could've been a whole bunch of unnecessary drama. I'm so thankful to those mediums for allowing me direct contact with people who value your work.
BV: Was the Floetry breakup natural because you wanted to do solo projects?
MA: No. Natalie left the group in 2006 to pursue personal endeavors and looking back at it, being that we were three albums in, by right, you'd want to explore who you are and what you want to do, but it wasn't my choice. It was something that was done. So, everything in between that time, with her leaving and now, was me trying to figure out what I wanted to do, and it resulted in this.
BV: Are you two still in touch or have you discussed a reunion? She just released her solo album last year.
MA: We haven't spoken since, I think, the summer of 2007. I haven't [heard her album]. We're just two completely different people. I've just been concentrating on making me happy and have moved on to the next.
BV: Did you feel any pressure to revamp your image after Floetry or lose weight?
MA: No, not really. Image has never been something that has driven the music. I've always been about the music first. I was a basketball player prior to music, so I know when I'm being unhealthy, so I changed for me and I wanted to be comfortable when I am on stage. I got my life back together for me with no pressure. I had to get off the couch and stop watching reality TV and the Food Network and use the Nintendo Wii and work out.
BV: When did you make the decision to lose weight?
MA: I lost my grandmother in 2003 and that took a toll on me completely. She was my best friend, and I miss her dearly. I started Weight Watchers with my mother the end of that year. The point system was great and by the 'Flo'Ology' album I had gotten a lot smaller in comparison to the first album anyway. I had dropped like 30 pounds. I always applied that Weight Watchers diet and implemented the calorie and point system into my diet.
BV: The first song people took to was 'Hope She Cheats on You With a Basketball Player'; what was the inspiration for that track?
MA: Being that I was a basketball player, I think it's kind of funny that the first thing that I do is about basketball players. A friend of mine went through a really bad breakup and I wanted to make light of that whole situation, instead of a corny record. I wanted to use the perspective people overlook when you are pissed. I lashed out a little bit and had fun a little bit. I was doing things to amuse myself, but I wanted them to get to know me and say, "Marsha is kind of off the chain. She's human. She's funny. Ha."
BV: 'Far Away' is your record and video against bullying people because of their sexuality. The video is beautifully shot and very poignant. Why did you feel you needed to make this song and video?
MA: I wrote the song in 2008 at the time a friend of mine had attempted suicide. When I heard the piece of music, I knew that was where I wanted to take the record lyrically as the best friend of someone who couldn't help themselves in that situation. The fact that I couldn't help that person hurt me more than you could imagine. I didn't want to take the easy way out and make it solely about my relationship. I wanted to tell the story that no one else wouldn't otherwise. Why wouldn't I do those visuals? My manager suggested that's how we go about it creatively. Through the Website, farawaydedications.com, I've asked people to send their dedications, and it's been an overwhelming response from all angles. Everyone has said it's wrong what is being done. I'm thankful people have opened their hearts and their lives to me because they have connected with this record. It's a good thing.
BV: You cowrote a song with Alicia Keys on this album. How was that experience?
MA: Right. It's called 'With You.' It was intended for her project on the 'As I Am' album, and I had already written a song called 'Go Head,' which she used and that was one of the records that was passed up on. So I think a month later after that album came out, I said, "Hey, Alicia. What are you doing with that record because I would love it back." I was so shocked she was going to use it, but she didn't again and it was a month after her album was going to be released and I signed with J Records, and I said, "We're label mates. Let's do this," and that's how it happened.
BV: You have been very vocal about your love for Lauryn Hill. You covered 'Killing Me Softly' at this year's Grammy hip hop event and also covered her song 'Lose Myself' on your album. Why do you love L Boogie so much?
MA: She's genuinely one of the best to ever do it. One of the best females to come out and give her opinion and that song 'Lose Myself' has been grand, and I always used to sing that record. I was just blown away when they said, "Cool. You Got it." She's one of my heroes. When the Grammy Foundation told me I could sing "Killing Me Softly," I think I won a karaoke competition for singing it.
BV: People really enjoyed your 'Sextape' mixtape series. Why did you do that?
MA: I was looking and searching for love songs I could relate to and compiling records for my DJ to play during my show and thought, "If this was a mixtape back in the day, it would be insane." I wanted to put my stamp on it as well and that I am on the way. Remember this old Stevie Wonder record, Teddy P record, Prince seals the deal at the end - it was one of those things that came along creatively because I had ample time to do it. People were really feeling it so I decided to do a four-part series and this is volume one. Come next album, I will definitely do volume 2.
BV: You paid homage to Teena Marie recently at BET Honors, singing her staple 'Portuguese Love.' What are your thoughts on that experience?
MA: With Miss Teena Marie, Lady T. I tried to be like her when I was younger. I tried and failed miserably. She's the blueprint to everything that I ever wanted to be: songwriter, producer and artist. She did it all. To lose her so early is tragic and unfortunate. The fact that BET wanted me to honor her in that way, I was floored as I've always looked up to her. When she heard the cover I did for 'Yes, Indeed' - Dr. Dre produced that - and she sang 'Say Yes' and that was such an honor and surreal moment in my career. One of my idols singing my record at their show. I felt it was only right to honor her because she blessed me with so much. She will surely be missed.
BV: Have you ever thought about doing a cover album?
MA: Possibly. It will be abstract and I will be particular in why I choose those records, but possibly. With the Teena Marie cover, I'm just thankful I got the blessing to do so.
BV: It's impossible to talk to you without mentioning Michael Jackson and your working with him on 'Butterflies'; how did his death touch you?
MA: It's still surreal. I remember getting phone calls from friends and associates asking if it was true. The fact that I was one of the few people on earth to find it out, it hit me hard. There will be no other like [Michael Jackson]. Writing 'Butterflies' and having my album #1 and #2 comes after being in the studio with him in New York. It's bittersweet and melancholy. The legend that is Michael Jackson will never be forgotten.
BV: What did Michael teach you in your time working together?
MA: He's a practical joker. We had fun. He told me, "This is the beginning of your career. Imagine where you are ready to go." If I wasn't right in my spirit right now, I could have sat down and quit after. But, he said, "This is the beginning." Some people are like that, "I don't need to do nothing [after writing for MJ]." He hadn't heard of me before, but his manager signed Floetry, but I had to thank him for that opportunity.
BV: Were you approached by or did you think about participating in one of the posthumous MJ albums?
MA: Not really. I think I was approached one time, but it's not that I'd be opposed, but I just felt like my work has been done. Even with my album now, this song on there, 'I Want You to Stay,' was intended for him, but we didn't get to finish it. Touching untouched work that is not intended to be released is always a touchy feeling - whether you're passed or living. Michael Jackson's work is just sacred; I would feel ridiculous just trying, but given the opportunity, I would do my best.
BV: There's a black British singer invasion going on right now with you and Estelle, Leona Lewis and so many others. How does if feel to be a part of that?
MA: For me, I just took the opportunity and it was able to work out. I have built a core fanbase since early 2000 until now, which is insane - an 11-year career in the U.S. I do go home and they love me there, but it is a dream to come to the U.S. and be able to make some kind of noise. I'm blessed to be among the names of all of those that paved the way. I would love to do an entire British invasion tour. I think that would kill in the summertime.
BV: What are your thoughts on R&B music today and the future of R&B?
MA: I think it's great where it is and where it's going. There's still room for those to come. I'm just thankful the success of the first week and where I'm taking my album shows it does work. Creating good music for R&B and hip hop - it works.
BV: Will you act in the near future?
MA: I plan to act a fool for the most part (laughs). I love movies. I love film. My next venture is to possibly score. Whether I will be acting in them? No. That's not my field. I won't even take it that far. It's serious business, and I'd want to take that seriously.
Marsha Ambrosius' solo debut, 'Late Nights & Early Mornings,' is in stores now. She will kick off the BET Music Matters tour with Melanie Fiona on March 16 in Dallas, Texas.