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New and some old songs added to heavy rotation this week. Please tell us what you like in the comments, or on Facebook or Twitter.

R&B and Contemporary Gospel
Choice of Colors, by Gladys Knight, from the album Just for You
You Are My Friend, by Patti LaBelle, from the album Beautiful Ballads: Patti LaBelle
Look Up, by Daley, from the album Days & Nights
Celebrate Life, by James Murphy, from the album So Crazy No Boundaries
Imagine, by Crystal Nicole, from the album Masterpiece
I'm Just Sayin', by Dawkins & Dawkins, from the album From Now On
Grateful, by Coko, from the album Grateful
Happy Feelin's, by Maze & Frankie Beverly, from the album The Greatest Hits: Lifelines, Vol. 1
A Second Chance, by Sounds of Blackness, from the album Unity
Waiting in the Wings, by Anointed, from the album Under the Influence
Family, by Carmichael Musiclover, from the album Pot of Gold
I Am Somebody, by Glenn Jones, from the album The Best of Glenn Jones
Mother Earth, by Karen Bernod, from the album #PlantingSeeds
Walk It Out, by Virtue, from the album Fearless

Traditional Gospel
Stand Still, by Deitrick Haddon ftg. Donnie McClurkin, from the album Stand Still
Awesome God, by Evereadys, from the album Just for My Friends
All That I Need, by CeCe Winans, from the album Purified
Lord Prepare Me To Be A Sanctuary, by West Angeles COGIC Mass Choir, from the album No Limit
Seasons, by Elaine Norwood, from the album Double Blessing
Manifest, by Victory Choral Ensemble, from the album A New Chapter - Volume 1
God Is Everything, by Jermaine Fulmore and Anointed Brothers, from the album Stepping Out With Jesus
Down Through the Years, by Joe Agee, from the album Gospel Truth CD 21

Jazz
Amplified, by Lin Rountree, from the album Soulfunky
Ocean Breeze, by Rob Mullins, from the album Dance for the New World
Glow, by Sam Stryke, from the album Brunch
Valdez off Crenshaw, by Terrace Martin, from the album Velvet Portraits
Touched by the light, by The James Colah Project, from the album Touched By The Light

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New and some old songs added to heavy rotation this week. Please tell us what you like in the comments, or on Facebook or Twitter.

R&B and Contemporary Gospel
Let There Be Peace by Donna Summer from the album Mistaken Identity
Time To Change by Yolanda Adams from the album Mountain High Valley Low
Rejoice by The Emotions from the album The Best of the Emotions: Best of My Love
Feel No Pain by Sade from the album Love Deluxe
Blessed by Jade from the album Jade to the Max
Sleeper On the Night Train from the album Shameem by Shameem
Change the World by Babyface & Eric Clapton from the album A Collection of His Greatest Hits
Count On You by George Huff from the album Miracles
My First Love by Jamie Grace from the album Ready To Fly
Sing to Me by Eric Benet from the album Love & Life
Sunshine by Coko from the album Hot Coko
No Never by Sean C. Johnson from the album Simply a Vessel, Vol 3: Surrender All
Love and Trust by Mavis Staples from the album Livin' on a High Note
Unity by Sounds of Blackness from the album Unity

Traditional Gospel
Someday Well All Be Free by Robert E. Person from the album Soul Sanctuary
God Is Great by Ricky Dillard & New G from the album Keep Living
Back to You by Dorinda Clark-Cole from the album I Survived
I'll Hold On by Tamela Mann from the album Best Days
Shadow by Terrell King from the album The Serenade
Good to Me by Sara Renner from the album Joy
Fill This Place by A R Base from the album Love Worship

Jazz
Nature's Theme by Jeffery Smith from the album Watercolors
This Song In Me (feat. Lizz Wright) by Kendrick Scott Oracle from the album We Are the Drum
Every Little Star by Nicolas Bearde from the album All About Love
Now's the Time by Ron Fattorusso from the album Spirit
Higher and Higher by Soundscape UK from the album Uptown Groove

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CHARLESTON- Marian Wright Edelman was apparently destined for a life of service to humanity.

The lessons about helping others that her parents taught her and the abject poverty she saw in Mississippi in the 1950s and 1960s instilled in her the determination to do something to make a difference, the founder of the Children’s Defense Fund (CDF) told a standing room only audience at the Sottile Theatre at the College of Charleston Tuesday night.

"One of the earliest lessons I learned was that I am God's child and that nobody can look down on me and because we are all God's children, that I can look down on nobody," said the Bennettsville, SC, native who founded the CDF in 1973. "Those with financial, material, intellectual and other kinds of wealth have a responsibility to share with others" to promote justice and equality.

Edelman's speech was the first in the Avery Research Center for African American History and Culture's Race and Social Justice Initiative, a response to recent tragic events in the Charleston area, including the shooting death of Walter Scott by a police officer in April 2015 and the mass shooting at Mother Emanuel AME Church in June 2015.

A graduate of Yale Law School and the first African American woman admitted to the Mississippi Bar, Edelman spoke of the continuing need to fight for justice and equality in an "ethically-polluted" society that is often indifferent to such values.
"It appears that we have too often lost the sense of what is important," she said. "Truth-telling and morality seem to have become unimportant. Yet, we live in a nation that spends three times more to house prison inmates than on public school students. That's about the dumbest investment I can think of. Mass incarceration is the new slavery."

Before founding the CDF, Edelman had been director of the NAACP Legal Defense and Educational Fund office in Jackson, Mississippi. She is also the recipient of a MacArthur Foundation "Genius Prize" Fellowship and the Presidential Medal of Freedom, the nation's highest civilian award.

"We've got to save our nation's soul," she said, as she turned her remarks towards the poor treatment many children in the United States receive and the danger that she said that presents for the nation. "Black children, Latino children and Native American children can take nothing for granted."

Referring to recent national discourse about immigration and national security threats, she said that "the real enemy is the failure to invest sufficiently in all of our children. Leaving children to struggle and trying to grow up in an ethically-polluted society for the very things they need to thrive is the real national security issue."
Edelman ended her speech by exhorting the audience to be vigilant in the struggle for justice, fairness and equality for all people. Despite the challenges, her life and work and that of people like SC natives Benjamin E. Mays and Mary McLeod Bethune confirm what is possible when one is determined that nothing can stop them.

"Be a strategic flea" and bite the big dog of injustice and inequality, she said. "Do all you can where you can with what you have. With enough fleas biting him, the biggest dog will have to move."

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Registered South Carolina voters who don’t have photo identification will be able to vote in in elections in the state, a spokesman for the state Election Commission told Radio Baha’i.

“With or without a photo ID, registered voters will be able to vote and their vote will count, under certain conditions,” said Chris Whitmire, Director of Public Information and Training at the SC Election Commission. 

Voters will be allowed to vote even without a photo ID, as long as they sign an affidavit stating why they don’t have one, and citing a “reasonable impediment,” Whitmire said.

“And unless it turns out that your affidavit is fraudulent, your vote will count,” he said. Voters who have a photo ID but didn’t bring it to the polls will cast a provisional ballot, but they must present their ID to county elections officials after the election and before the election is certified.

South Carolina’s photo voter ID law went into effect in 2013. Critics of the law say that it has the effect of suppressing voting by a significant portion of the state’s population, mostly minority voters.  During this primary season in the run up the general election in November, voting rights advocates in SC and other states with relatively new photo ID laws have raised concerns about misleading messages about the laws.

The messaging from state and political party leaders is confusing, potentially leading voters without ID to stay away from the polls. In SC, posters and literature from the state Election Commission indicate in large print that a photo ID is now required to vote while the fact that a voter can cast a ballot without a photo ID is shown in fine print.

While there may be some confusion, if voters visit the state Election Commission website or read the fine print on posters and  other literature, the information found there should clear up any confusion, Whitmire said.

“What’s very important to understand,” Whitemire said, “is that no registered eligible voter that wants to vote will be turned away.”

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CHARLESTON-Jonathan Green got emotional and shed tears as he called for posthumous citizenship for all enslaved Africans that died on South Carolina's rice plantations in the 18th and 19th centuries.

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Jonathan Green, far right at the table, Dr. Edda Fields-Black of Carnegie Mellon University, and Citadel professor emeritus Dr. Richard Porcher.

Green, the internationally-renowned artist who lives in Charleston, made his comments last night at A Dialogue in Charleston from The Citadel: The Experiences of Living and Working on a Rice Plantation. The panel discussion was one of a series of dialogues leading up to Green's Requiem for Rice production in October 2017. The production will be a modern, African American-inspired take on the classic requiem and will include a full symphony orchestra and choir, as well classic West African drumming, dancing and singing.
Requiem for Rice is a "tribute to those enslaved, exploited and brutalized on Lowcountry South Carolina and Georgia rice plantations, and remain unburied, unmourned, and (their resting places) unmarked," according to the Requiem for Rice website.
"Whenever I talk about rice, I get emotional. It's very personal," Green said in an interview after the event in the packed Bond Hall on The Citadel campus. "You know, a requiem is a mass for the dead, and we simply believe that all those people whose bodies are scattered under those rice fields need a requiem. We need a requiem."

Green, founder and chairman of the Lowcountry Rice Culture Project, also said that the Requiem and the dialogues leading up to it are "a way to strengthen cultural connections and build a new infrastructure for our youths, especially African American youths. To bring back the cultural connections we have to West Africa. They need to know about Africa."

The call for posthumous citizenship for enslaved people who worked on rice plantations is a request to the state's leaders, he said. "It shouldn't have to be a demand."
Thousands of enslaved people made South Carolina rice planters the richest and largest slaveholders in the nation during the 18th and 19th centuries. West Africans brought the knowledge of cultivating rice with them from their homeland, where it had been grown for hundreds of years. Life for the enslaved on rice plantations was extremely harsh. Diseases such as chronic malaria, respiratory ailments, and cholera proliferated in the swamps and stagnant water on all Lowcountry rice plantations. Overall death and infant mortality rates were very high. Many enslaved people who died were buried in graves that today are unmarked and untended, Green said, adding that the requiem is "a lamentation for the repose of their souls."

The Requiem for Rice is a collaboration between The Colour of Music, Charleston's Black Classical Music Festival and the Lowcountry Rice Culture Forum sponsored by the Lowcountry Rice Culture Project. Carnegie Mellon University's Center for the Arts in Society of Pittsburgh, Pa., selected Requiem for Rice as its Performance Initiative for 2015-2017.

The requiem will premiere in October 2017 in Charleston. For more information, visit requiemforrice.com. Also, stay tuned to Radio Baha'i in the coming weeks for an in-depth interview with Jonathan Green about the project on the public affairs talk show, Insight.

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