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In hindsight, music has always been Donald Glovers true calling. Before the sitcoms, the Star Wars movie, the Saturday Night Live hosting gigs, and the well-worn gifs of the performer walking horrified into a burning room with a stack of pizza boxes, you could find him on YouTube as a member of Derrick Comedy. The groups greatest sketch, B-Boy Stance, saw Glover play an ageing hip-hop pioneer who had his arms surgically attached to his back, ensuring he was forever pulling the iconic pose it riffs on the distance between the New York acolytes who witnessed the birth of hip-hop and those who came to the music after it was commodified. Glovers understanding of American culture shines with diamond clarity; Atlanta, his comedy-drama that goes deep into the citys rap scene, is the evolution of those ideas.

Glovers early forays into rap were corny and forgettable. The Childish Gambino project felt like the side hustle of a talented kid eager to test every limit of his creativity that the moniker was taken from an online Wu-Tang Clan name generator seemed to reflect how low it fell on his list of priorities. In 2016, the funk record Awaken, My Love! was an artistic breakthrough. Then came 2017s vicious This Is America and a video that encapsulates the racial prejudice, police brutality and vicious gun lust freezing the soul of the self-proclaimed greatest country in the world. The clip became a pop cultural juggernaut, anointing Glover as spokesman for the Black Lives Matter generation.

3.15.20 is the glorious payoff of this musical evolution. Melding elements of industrial hip-hop, hard-edged funk and pulsing electronica, with occasional experimental breakdowns a la Pink Floyd, it is an ambitious album that can turn from hedonism to hope on a dime. And with its genre-hopping ethos, bold orchestral choices and pleasing tunefulness, it is the first truly boundary-pushing record of the 2020s, cementing its creator as a daring virtuoso. (The roll out of the record wasnt quite as well executed: songs temporarily began streaming on a continuous loop last Sunday via donaldgloverpresents.com and are once again leaving fans to ponder whether it was a leak or part of an elaborate release strategy.)

No song is quite as blunt as the societal sledgehammer that was This Is America because they dont have to be Glovers sharp pen and outlandish concepts see him smartly examine topics such as freedom in the digital age, the nature of reality and the malignancy in the soul of his home nation.

Take Algorhythm, which warns of the erosion of personal liberties as the algorithms that serve our information alter our minds. The corrosive psychological effect of phones has become catnip for songwriters in recent years but Glover brings his own perspective, using vocal effects to slide into the role of artificial intelligence while dropping biblical references. Elsewhere, he buries his voice so deep in effects at moments that it is near-impossible to make out his words see 32.22, a bruising rap song that shares DNA with Kanye Wests Black Skinhead. The effect alludes to the disappearance of his soul into a digital vortex, inviting listeners to determine what is and is not real.

The most direct probing comes on the Ariana Grande-assisted Time, as Glover sounding half flower child, half crystal gazer questions whether the world is exactly what it seems. With a melody reminiscent of forgotten single Cry, theres even a touch of Michael Jackson to the sweeping anthem. Its not difficult to picture MJ, arms stretched out in a Christ-like stance, singing lines such as: Seven billion people trying to free themselves / Said a billion prayers trying to save myself. Not that you ever would have caught Jackson over these psych-tinted guitar strums and eccentric, retro-futuristic drum machines.

The gentle funk of 47.48 evokes memories of Stevie Wonder as Glover explores the devastating effect violence has on childhood innocence. There are moments of levity, though. On the Prince-esque lover-man jam 24.19, the meaning of a relationship is captured through minutiae as Glover smiles at his sweethearts appreciation of fairytales, the way they wear their hair and the chicken dinners the couple once shared. More passion comes on 12.38, throwback funk featuring horny one-liners such as Hit the uchi-chuchi till its slanted; the hazy pop of Feels Like Summer will line up well on barbecue playlists.

These are lighter moments in a grander work that instantly feels part of the zeitgeist. Its especially appropriate, then, that 3.15.20 has dropped into the feeds of people social distancing. The disruption caused by the coronavirus forces us to question how strong the foundations of civilisation really are. Glover never could have seen the pandemic coming when he was recording the album, yet at a time when much of what we thought was strong is weak what we thought was eternal is potentially fleeting 3.15.20 captures the insecurity of lived reality and the humanity that truly defines our existence.

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Childish Gambino: 3.15.20 review at the peak of the zeitgeist - The Guardian

As the great-great-granddaughter of hair care pioneer Madam C.J. Walker, ALelia Bundles proudly carries the torch of her familys heritage onward.

Bundles book, On Her Own Ground: TheLifeand Times of Madam C.J. Walker,laid the groundwork for Netflixs latest mini-series,Self Made: Inspired by the Life of Madam C.J. Walker.

READ MORE: Self Made stars Blair Underwood, Bill Bellamy discuss Madam C.J. Walker and series

The series stars actress Octavia Spencer as one of the most revered entrepreneurs in Black history alongside Blair Underwood as her husband, Mr. C.J. Walker.

With a birthright rooted in hair, Bundles reflected on how Madame C.J. Walkers legacy influenced how she viewed her own hair growing up.

My mother was really very good about making this a nurturing process, the author told theGrio.

So fortunately, I never got some of those negative messages that I know a lot of people got. And my mother always acted as if it was the joy to do my hair, even though Im sure it wasnt.

READ MORE: Coronavirus is affecting Black hair care businesses, vendors say

Though her family always showered her mane with admiration, Bundles faced her own obstacles when it came to loving her own curls. But with patience, she began to accept her hair for all of its glory and limitations.

I have lived almost seven decades. So Ive had my hair journey where I wasnt comfortable with my hair,Bundles said of her personal hair journey.

It takes a long time, I think, to get to the place where you realize you may love the hairstyle that somebody else has. But my hair is not going to really do that, right? So what is it about my hair that I can appreciate that I can learn to love?

Perceptions of Black hair morphed drastically over the last generation, but unfortunately there are some elements of Black life that have stayed the same. The four-part series is set in the early 1900s, but we can find very relevant modern themes present throughout.

Whether its voting rights, you know, whether its women, whether it is our ability to start businesses, to have investments, with the racism, the lynching, Black Lives Matter 1.0, those same themes of race and gender and politics still resonate, Bundles explained to theGrio.

Some parts of it are heartbreaking to me. But it means that we realize you cant just give up the fight. You have to keep pushing.

Self Made: Inspired by the Life of Madam C.J. Walker premieres on Netflix Friday, March 20.

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Madam CJ Walker's great-great-granddaughter on carrying family torch - TheGrio

To the editor:

We are a group of women and men who after Trumps election decided to take President Obamas advice and do something to make a difference, and so became the beginning of a dream. We knew living right dab in the middle of Trump country was going to be a constant battle and so became our battle cry, We will resist. We have since written letters to the editor to the opinion page of the newspaper every week since inauguration in 2017.

We have marched at gay pride parades, and attended womens rights and Black Lives Matters events. We have had community programs defending the left agenda, with facts. We hosted the first opioid round table in Jefferson County, where we had members of state and local government, drug counselors and first responders who helped shine a light on what we as a community could do to help those suffering from addiction. We have done voter registration drives all around the county since 2017.

Out of our own pocket we have contributed ham and cheese trays to all local school districts on teachers day; care packages to the immigrants and the domestic violence shelter; memorial wreaths to our Vietnam veterans; adopted a park for respect of our environment; sponsored many meet-the-candidate programs; and hosted two picnics the first honored all veterans and the second honored the many women from all over Ohio who proudly served in all branches of the military. We helped with an appreciation dinner for Sheriff Fred Abdalla and many more events too numerous to list and planning new events all the time.

At first we were out numbered and criticized, but as the months and years passed, letters to the newspaper have grown, many from people we dont know, our membership has grown every month and together the original group stands strong. In closing the Jefferson County Progressive Democratic Coalition from the communities of Steubenville, Mingo Junction, Bergholz, Toronto, Rayland and Wintersville proudly shout, we are here and voting blue no matter who in November.

Denise Galownia

Mingo Junction

To the editor:On March 15, Gov. Mike DeWine shut down the restaurants and bars in Ohio what? Doesnt Mike ...

To the editor:Donald Trump did not cause the coronavirus.OK, now thats out of the way, let me tell you ...

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To the editor:As a result, reportedly, of inappropriate sexual comments he had made in the work place ...

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Coalition continues to gather support | News, Sports, Jobs - The Steubenville Herald-Star

Across the Universe is a film about love, anti-war activism, self-discovery, psychedelic drug culture, free speech, sexuality and the civil rights movement, themes which are all beautifully choreographed into a Beatles musical. Director Julie Taymor knew that creating a musical based off songs solely by The Beatles would be a challenge. Using 33 of their songs and minimal dialogue, Taymor created a masterpiece that can influence viewers in both a personal and generational way.

The film follows three young adults in the 1960s whose fictional lives coincide with real events. Jude, played by actor Jim Sturgess, leaves his home in Liverpool to finally meet his father, who lives in America. While there, he meets a lively Princeton student named Max, played by actor Joe Anderson, and the two quickly become friends. Jude eventually meets Lucy, Maxs younger sister, who is played by actress Evan Rachel Wood, and together they create a romantic connection. The three journey to New York City and meet a handful of characters who each face personal challenges.

There are moments in the film where it feels like a trippy, extended music video. At one point, Bono yes, Bono sings I am the Walrus while the people around him slowly slip into a psychedelic state. In the middle of the movie, Max is drafted into the Vietnam War. The film depicts men carrying Lady Liberty on their back while singing I Want You (Shes So Heavy) to symbolize the cost of freedom. In a veterans hospital, Salma Hayek is the nurse who administers morphine while the men in bed sing Happiness Is A War Gun.

Although Taymor never intended it, this film has potential influence on millennial activism and comments on social issues still relevant in todays society. In the 21st century, weve seen the Iraq War, the Black Lives Matter movement, the gay rights movement, and so many more events similar to ones that occurred in the 1960s that have influnced our youths actions. We have seen young people march Americas streets demanding change from those in power, which is similar to several scenes in the film.

No matter what message you choose to take away from Across the Universe, the film is bound to have a powerful impact, and perhaps, by the end of the film, youll begin to believe that all you really need is love.

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Movie Review: Across The Universe - UTSA The Paisano

Source: Craig Barritt / Getty

I think most people actually dont choose to do this work, Alicia Garza says with a laugh, her voice clear and crisp, filled with a restrained confidence. But I think that whats more true is that for all of us, we have experiences that shape our understanding of how the world works, she continued.

Its Thursday, March 12, and while we were on opposing coasts, both of us were collectively bracing ourselves for the unprecedented response to the coronavirus. But outside of a public health pandemic, Garza has witnessed a threat which evokes the same level of fear, found within the daily threat of racism and homophobia as a queer, Black woman in America.

I ask Garza about what led her to organizing and activism and she responds that it began with watching her mother struggle as a single parent.

I know that women like my mom are juggling so many responsibilities and yetwere literally holding our country together, but our country doesnt do the work to hold us together, Garza said. While her mom remarried and found success as a thriving small-business owner, Garza is aware that itsnot a shared experience among Black Americans. But the memory of the journey stays with her, fueling her body politic.

The work Garza refers to is the devotional and oftentimes thankless dedication to those whose power has been stripped, ratified by white supremacy and systemic oppression. To change the current power structures in play, Garza calls for a re-imagining of the way politics have served Black voters.

In 2018, she shifted gears as one of the co-founders of the Black Lives Matter (BLM) Global Network to create the Black Futures Lab. Much of her urgency stemmed from watching her community of organizers go without crucial resources like access to safe, livable housing and health support.

Our work is really focused on building the capacity of Black families to make the rules so that we can change the rules.

What I realized very quickly is that resources are distributed unequally and that is really a function and a question of power, she said. Coming out of the 2016 elections, Black Lives Matter was really in full swing and yet there was very little, if any attempt to speak to the issues that Black communities cared about across the country.

The lab was started to make Black people powerful in politics. We know that every time an election cycle rolls around Black people are engaged culturally but not substantively around issues that we care about and that means that were not a part of the decisions being made about us and that has implications, Garza continued.

Recently the Black Futures lab launched and completed the Black Census Project, which Garza proudly describes as, the largest survey of Black people in America thats been done in 155 years. Along with engaging voters and the creation of the Black Census project, the Black Futures Lab encourages Black influencers with large social platforms to use it for politics instead of projects.

We now can use that data to inform how policy is developed and shaped in cities across the country, Garza said in regards to the Black Agenda 2020, whichexamines the concerns that surfaced from the census project, coupled with prompts on how to address those issues with policy actions.

So much of the time, we engage in these kinds of politics that are transactional for some that leave a lot of people behind.

Black Futures Lab was able to fund their work through a grant from the Marguerite Casey Foundation. Since 2012 the organization has invested over $15 million dollars. $5 million in the past year was issued to 50 different Black and brown grassroots organizers to oversee outcomes for the 2020 election, which will undoubtedly affect the most marginalized of us.

I think institutions make rules about how they want to intervene in the equal distribution of resources and I know that the Marguerite Casey Foundation for example has relay prioritized improving the lives of Black and brown families across this country in every part of their lives.

Inducing a shift from what Garza describes as a race neutral approach to a race forward approach, is one of the Black Census Projects tenants, along with the Black Futures Lab. Reminding the general public and politicians vying for office that Black people are not a monolith, only concerned with police brutality and vigilante violence, but also have a vested interest in healthcare, global warming and the economy.

We are focused on political power because the problems that we face are immense and the solutions actually require that we dont keep doing the same old thing and getting different results, said Garza.

I think were seeing Black people act decisively, but yet its not really clear what commitments were receiving around changing whats happening on the federal and local level, Garza said.We cant afford to give anything up for free, and we have to challenge this notion that the people who are speaking out on our behalf have our best interest at heart.

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We Cant Afford To Give Anything Up For Free: Alicia Garza Is Shifting The Power To Black Voters With The Black Futures Lab - MadameNoire