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Family ranking who you believe is the best Actor's 🎬 🎞 🎥 🎦 📽 🎬 let's see...

5 hours ago | [YT] | 37

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⚖️ After a brief deliberation, a rigged FriscoTexas jury made up of mainly White men found Karmelo Anthony guilty of the 2025 death of Austin Metcalf at a high school track meet. The defense did a poor ass job in proving self-defense throughout the trial and this rigged juror of White men no one black on the juror in a city that is 45% white and 10% Black sided with prosecutors and returned a guilty rigged verdict.. what are your thoughts? Please be honest. By no means do I think someone losing their life is a good thing. Thank you.

2 days ago (edited) | [YT] | 135

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Karmelo Anthony Maybe Found Guilty His Lawyers Appear Incompetent https://youtu.be/kzY12RMSyt8?si=yVbqS...

3 days ago | [YT] | 80

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Asian Man Dares Black People To Boycott Asian Businesses https://youtu.be/_37nNspDaAM?si=NPoI7...

4 days ago | [YT] | 74

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"The Spook Who Sat by the Door" (1973) was a banned film based on the novel by Sam Greenlee. This movie is an essential film of Black cinema history. There is much to say about the movie itself. However, what makes this film so prominent is everything else behind the scenes and the collateral damage it caused for some people's careers. Greenlee chose Ivan Dixon to lead the film's direction while initially considering casting Clarence Williams III to play the role of Dan Freeman. Ultimately, the part went to Lawrence Cook, who featured in more minor roles in movies and TV series beforehand.

Greenlee based the film in Chicago; however, Dixon shot most of the movie in Gary, Indiana, because Chicago's mayor didn't appreciate the film's theme. Greenlee also hired long-time friend Herbie Hancock to produce the movie's soundtrack. Ultimately, the subject matter of Black militancy and revolution while exploiting the CIA's training was more than what America could bear at the time. As a result, United Artists Films pulled the movie from theaters after three weeks.

We can dive deeper into the significance of this movie from different aspects; however, I encourage everyone to further research Sam Greenlee's experience with his book and film. Many American publishers initially rejected his book, but eventually, Allison & Busby published it in the UK in March 1969. It's eye-opening how higher powers can pull strings to suppress art and messages about institutional racism. I highly recommend this movie for viewing.

Director: Ivan Dixon
Writers: Sam Greenlee (screenplay), Melvin Clay (screenplay)

Starring Lawrence Cook, Janet League, Paula Kelly, J.A. Preston, Paul Butler, Don Blakely, David Lemieux

Storyline
A White Senator starts a campaign for the CIA to recruit Black agents to improve his standing with Black voters. However, all are graded on a curve and doomed to fail, save for a soft-spoken veteran named Dan Freeman. After grueling training in guerrilla warfare, covert operations, and unarmed combat, the CIA assigns Freeman, a meager job as the token Black employee. After five years of racist and stereotyped treatment by his superiors, he quietly resigns to return to his native Chicago to work for a social services agency by day. By night, he trains a street gang to be the vanguard in an upcoming race war, using all the CIA has taught him.


The book by Sam Greenlee.
www.amazon.com/Spook-Door.../dp/0814322468...

4 days ago | [YT] | 298

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Rick Chow Acquitted For Killing Cyrus Carmack Has History  youtube.com/live/1X9ProqF7yM?si=HmWEcfNUCXq_rmfU

5 days ago | [YT] | 44

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Peabo Bryson Rest in Power Brother

1 week ago | [YT] | 1,434

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Warren Sapp On America's Holocaust On Black People https://youtu.be/_0u8rUq_2b4?si=XQMTU...

1 week ago | [YT] | 103

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Today, the Solar Records family pauses to honor and remember the life of Foster Sylvers.

From his remarkable beginnings as a gifted young artist to his lasting contributions as a singer, songwriter, producer, and creative force, Foster’s talent touched generations. His music brought joy, his smile brought warmth, and his spirit brought light to everyone fortunate enough to know him.

Foster’s journey is woven into the fabric of the Solar legacy, and his influence will continue to resonate through the music, memories, and lives he helped shape.

We celebrate a life filled with music, love, laughter.

Though he may be gone from our sight, his voice, his creativity, and his legacy will live on forever in our hearts.

Rest in peace, Foster Sylvers.

🎵✨🕊️

#FosterSylvers #SolarRecords

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1 week ago | [YT] | 883

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The Whitman Sisters “Royalty of Negro Vaudeville” “So completely has evidence of the Whitman Sisters disappeared that it’s almost as if someone had deliberately cut them out of the pages of show business history. Yet for forty years from the late 1890s to the late 1930s, the Whitman Sisters shows were the biggest, fastest, flashiest shows in black vaudeville. Their annual touring show became an incubator for talent especially dancers.The Whitman Sisters “Royalty of Negro Vaudeville” “So completely has evidence of the Whitman Sisters disappeared that it’s almost as if someone had deliberately cut them out of the pages of show business history. Yet for forty years from the late 1890s to the late 1930s, the Whitman Sisters shows were the biggest, fastest, flashiest shows in black vaudeville. Their annual touring show became an incubator for talent especially dancers.

The sisters were the daughters of Reverend Albery Allson Whitman and Caddie Whitman (née White), who lived in Ohio, Arkansas and Kansas before settling in Atlanta, Georgia. The sisters had an older brother, Caswell (1876–1936). Reverend A. A. Whitman came to be known as the "Poet Laureate of the Negro Race". The sisters were taught by their father to sing religious songs and to dance, in order to accompany him on evangelical tours.

Because they were light skinned, they dyed their hair blonde, looking very much like Gibson Girls who were able to start their show business career touring in many white Vaudeville shows. The Whitman Sisters would become the highest paid Black act on the Negro Vaudeville circuit. They managed their own shows which became the biggest, classiest, fastest, flashiest most dignified shows in Black vaudeville.

These four women danced, sang and played banjos and were profoundly talented entertainers and impressive entrepreneurs, whose own Stage company would be the very springboard for many up and coming musical and stage luminaries to come. They would have anywhere from 20 to 30 performers in the show and had six to eight programs running at any one time and always did a Shake Dance to Diga-diga-do.

Mabel (or May) successfully ran the production company and was the producer, manager and director. She was a voice of change in the racially corrupt practices and racial segregation in vaudeville. In 1910 Mabel created her own troupe of Picks (Pickaninny’s) called Mabel Whitman and the Dixie Boys while Mabel sang and the boys danced. Mabel was the first to quit performing in the shows. May also coached the Picks in the shows.

Essie who was a big-voiced comic-singer and labeled as a real coon shouter at the time, was in charge of designing and making the costumes for the group. Essie retired in the late twenties and became a preacher at the Metropolitan Church.

Alberta (or Bert) who was an agile flash dancer also worked as a male impersonator which in most of her acts and handled all the shows finances. She was in charge of the music end and composed much of the music that the group would use. Alberta did the “Strut” as her dance act.

Alice, the youngest was regarded by many as the “Queen of Taps and Champion Cakewalk dancer.” Alice joined the group in 1909 and would sing and dance. She was praised by many for having a fabulous figure as well. She did many dances of the day including the Shim Sham Shimmy, Ballin’ The Jack, Walkin’ the Dog and the Sand as well as the standards like Tap dance. Alice’s son Albert also joined the show and grew to become a great dancer in his time.

Despite their forty years of popularity, information about them all but disappeared.They left no film, nor sheet music, and close to no records, though Essie made some recordings for Black Swan and Paramount in the early 1920s.

The surviving sisters were interviewed in the 1960s by Jean and Marshall Stearns, who included a chapter about the Whitmans in their work Jazz Dance. Their full role was uncovered by the efforts of Black American Theater Studies scholar Nadine George-Graves, who analyzed a wealth of local and regional publications,[9] and published her findings in 2000 as The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender and Class in African American Theatre, 1900-1940.

After Essie retired from performing, she became a lay preacher in Chicago. She was married three times and died, aged 80, in a house fire in 1963. Alberta died in Atlanta in 1964, and Alice died in Chicago in 1968. Alice's son, Albert "Pops" Whitman (1919-1950), became a noted tap dancer in his own right.

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1 week ago | [YT] | 245