The women of Delta Sigma Theta do not play when it comes to STYLE and SISTERHOOD!

To celebrate their 20th crossing anniversary, the women of the Spring 2004 “25 Reflections of E.S.S.E.N.C.E” line of the Lambda Zeta Chapter of Delta Sigma Theta Sorority, Inc. at The University of Alabama teamed up with photographer Oluwapelumi Bamidele (@ovia_reflex) for a STUNNING photoshoot.

“This sisterhood has meant so many things to me over the past 20 years,” Janelle Fitts Herron, one of the sorors, told Watch The Yard. “I would say that, most importantly, it has given me a group of women who support, inspire, and motivate each other. Life is better with them in it!”

Check out the AMAZING photos they took below:

HOUSTON (AP) — Former Houston Mayor Sylvester Turner was picked Tuesday as the Democrats’ nominee to succeed the late U.S. Rep. Sheila Jackson Lee, who died last month after being diagnosed with pancreatic cancer.

Turner, 69, will appear on the November ballot after securing the most support from local Democratic precinct chairs during a party meeting in Houston. Jackson Lee had already won the Democratic nomination for what would have been a 16th term before her death on July 19, leaving party officials to select her replacement.

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Turner left the mayor’s office in January after serving eight years, the most allowed by term limits. He was previously a longtime state lawmaker.

The House district in Houston is solidly Democratic. Turner will face Republican challenger Lana Centonze.

Vice President Kamala Harris and former President Bill Clinton were among those who paid tribute to Jackson Lee at her funeral this month. She was 74.

Controversy swarmed Rachael “Raygun” Gunn after a bizarre performance led to her scoring zero total points from Olympic judges. The Australian breakdancer drew criticism from Black folks who largely thought she “mocked” the Black art form. Even singer Adele stopped her Munich show to joke about what she called “the best thing that’s happened in the Olympics.”

As questions continue to rise about how exactly Raygun qualified to face some of the best breakdancers in the world, those familiar with the 36-year-old say she’s simply “the best” Australia had to offer.

In light of the Australian’s unprecedented fame, here’s what you should know about Gunn and her journey to Paris.

1. She’s been trained professionally

Having professional training in tap, jazz, and ballroom dancing, Gunn first picked up breaking from her now-husband, Samuel Free, who also competes in the sport, per the Olympics website.

2. She has a Phd

The couple found a mutual love for breakdancing, and Gunn’s new found passion ultimately led her to obtaining a PhD in breakdancing and dance culture, according to SBS News. With a doctorate degree under her belt and her career as a college lecturer on the subject, it’s understandable why some may call her a textbook “expert.”

3. She’s Married to a Breakdancer

According to Daily Mail, Gunn married her husband, who performs as Sammy The Free, in 2018. The locally-known breakdancer had his own dreams of competing in the Olympics, but ultimately, Free agreed to train his wife for Paris.

The duo have an unique approach to the dance form, relying more on self expression than technical skills to set them apart from competition. This clearly worked as Raygun qualified for the Olympics in 2023.

4. She was ranked no. 1 in breakdancing

Gunn’s been breakdancing since she was in her twenties, so when the Olympics announced the new Olympic category of breakdancing, she was set on making it to Paris.

From 2021 to 2023, she competed around the world, usually ranking between 40 and 70 in competitions, according to the Olympics website. Everything changed, however, when she got the chance to compete at the Oceania championships in Sydney, Australia. There, Gunn defeated the competition to take home the number one ranking and qualify for the Olympic Games, according to CNN.

5. Her performance caught Jimmy Fallon’s Attention

Videos of Gunn’s Olympic routine quickly went viral after she received zero points from judges. Her performance, filled with arm windmills and kangaroo hops, amused viewers across the world, and even Jimmy Fallon poked fun at Raygun on his nighttime show.

6. Her moves are clearly all “original”

After competing, Gunn spoke about her “original” moves, saying “creativity is really important to me. I go out there, and I show my artistry.” She continued “Sometimes, it speaks to the judges, and sometimes, it doesn’t. I do my thing and it represents art. That is what it is about.”

7. Breakdancing will not be at the next Olympics

Although this is unlikely the last time Raygun will hit the stage to showcase what she calls breakdancing, this might be the last time the Olympics give her the opportunity to do so.

ABC-10 reported breakdancing will not be returning to the games in 2028. Los Angeles, the city hosting the next Olympic Games, opted out of having another breaking competition.

Editor’s note: The following article is an op-ed, and the views expressed are the author’s own. Read more opinions on theGrio.

Harry was a cultural appropriator. 

Formally trained by Irish clock dancers, Harry Swinton was the undisputed master of the buck and wing, a dance form that merged clogging with the historically Black cakewalk dance. Swinton knew that the Irish detested his disgraceful Black additions to the traditional dance of their homeland. But as the star of the hit stage musical “In Old Kentucky,” Swinton didn’t care. Every night after the show, Swinton would challenge the best Irish cloggers, Black cakewalkers and anyone in the audience to a dance battle. Anyone who beat him would win a gold medal and bragging rights against the best buck and winger in America. And every night, Swinton won … 

Until he met Luther.

Luther was not a cultural appropriator. 

Luther Robinson was not formally trained, but he had been cakewalking, clogging and buck dancing since he was 5 years old. He was raised by a formerly enslaved woman, so Luther knew that cakewalking originally made fun of the way white people danced. He knew “buck dancing” referred to the flat-footed “po buck jig dancing of unruly Irish immigrants,” whom the Carolina Gullah Geechee referred to as “buckra.” While Luther hated his given name, author Constance Valis Hill notes, “The one thing [Luther] had in abundance was nerve.” He didn’t care about medals or roles. When he accepted Harry’s challenge at the Bijou Theater in Brooklyn on March 30, 1900, Luther wanted something else.  

Harry’s crown.

Luther entered the contest under his brother’s name — Billy — and immediately began “jangling” to Harry. Luther dismissed a gauntlet of New York’s greatest Irish dancers before he faced the buck-and-wing king in the finale. Harry took the stage and sprinkled a layer of sand on the floor, which added a shuffling sound to his bucking and winging. To the Irish cloggers, it was disgraceful. The audience thought it was revolutionary. Luther had seen it a million times. He started out dancing on dirt. When Luther began showing his flair and athleticism, the audience went wild. The judges would later say they had never witnessed such “speed and clarity.” The Irish dancers stared in awe, planning to steal this new technique. In one night, Luther had transformed a historically white dance genre into a memory. Scholars of contemporary dance concede that clock dancing begat clogging, which begat buck and wing, which birthed a number of American dance genres, from jazz to hip-hop. Historians would later note that Luther’s contribution to dance is “exact and specific … He brought it on its toes, dancing upright and swinging.” For the next 50 years, critics hailed Luther as the “King of American dance.” But those historians, scholars and critics were wrong. Luther was not an innovator or a contributor. He wasn’t even a king.

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Luther was an assassin. 

The moment the judges awarded Luther with the gold medal, Irish clogging was a relic of the past. Buck and wing had met its demise. Every dancer — Black or white — would have to reincarnate themselves into something new. Harry Swinton’s career was dead (The film adaptation of “In Old Kentucky” actually featured Luther in Swinton’s old role.) Perhaps the only thing that survived the explosive debut of this new “tap dance” was 22-year-old Luther’s stolen stage name:  

Bill “Bojangles” Robinson. 

Rachael “Raygun” Gunn is the Bill “Bojangles” Robinson of Olympic breakdancing.

Before she became the oldest dancer in the Olympics’ first-ever breaking competition, the 36-year-old b-girl was formally trained in white dances, including ballroom and ballet. With moves like the Caucasian kangaroo, the epileptic slide and — my favorite — the stupid shuffle, Raygun managed to befuddle Black Twitter and merge traditional breakdancing and the Outback Steakhouse version of b-boying. Her performance wasn’t disrespectful or offensive as much as it was cringe. Watching her caucastic convulsions earn zero points in the Olympics was like listening to an Iggy Azalea freestyle or watching a local weather reporter “bust a move.” 

But Raygun is not a cultural appropriator. 

While there is no universally accepted definition of the term, cultural appropriation generally relates to the misuse of art, terminology or cultural artifacts by someone who does not acknowledge the cultural origins. The Crocodile Dundee of dancing earned a Ph.D. in cultural science and lecturing on the cultural politics of breaking. Gunn is no different than the durag-wearing Lithuanian b-girl whose nickname sounds a little bit too much like the n-word for my taste (At least she chose “Nicka” and not Nickker”). Raygun was not terrible, she was just buckdancing and clogging in front of a Bojangler. She was doing a white thing.

“I was never going to beat these girls on what they do best, Gunn told The Independent. “I wanted to move differently, be artistic and creative because how many chances do you get in a lifetime to do that on an international stage? … Sometimes it speaks to the judges, and sometimes it doesn’t. I do my thing, and it represents art. That is what it is about.”

That is not what it is about.

As one of the five pillars of hip-hop, breakdancing is a historically Black dance genre. Just as tap has Irish and white American influences, hip-hop’s contributors include Hispanics, Africans and cultures from around the globe. But emceeing, b-boying, djing, graffiti and knowledge didn’t make hip-hop into a global phenomenon. Its worldwide popularity is due largely to its origins in Black American culture. While breakdancing became an Olympic sport because hip-hop is global, the popularity, history and cultural cache of Black American music, art, fashion, language and dance that preceded hip-hop laid the foundation of the genre’s worldwide appeal. Hip-hop is global because it is Black.

Olympic breaking, however, is not a Black art. It is a sports entertainment product that evolved from a historically Black genre. It was included in the Paris Games to “attract younger, social media viewers and a new level of excitement to the viewers,” according to  International Olympic Committee president Thomas Bach. Of course, when they say “younger, social media viewers,” they are not talking about the hilarious memes on Black Twitter. He was talking about people who like plantation plays and Shirley Temple music. He was talking about the people who like Black art without the pain. 

That’s what it’s about. And it is also why the IOC killed Olympic breakdancing. Just as the organizers of the Paris Games selected breakdancers to attract people who don’t watch competitive hula hooping or underwater ballet, the organizers of the Los Angeles games “opted for cricket, squash, lacrosse, baseball, softball and flag football to be included in the 2028 Games.” The Los Angeles Olympics doesn’t need breaking. 

The one thing America has in abundance is the commodification of Black art.

To be clear, hip-hop is not dead. Like all Black art, the genre has evolved. But by disconnecting breaking from the culture and people that influenced it, it has been reduced to a cultural artifact. Just as Black people had already moved on to “race music” by the time Sam Perkins “discovered” rock and roll, pop-locking and windmills were eventually replaced by jookin’ and second-lining and jitting. 

Raygun and her fellow breakdancers are as hip-hop as Vanilla Ice or Post Malone. They are classically trained dancers competing for medals as part of a show. They were simply mimicking something Black people used to do. They were pre-Bojangles buck dancers. They are masters of one small component of a culture that Blackness birthed. But their deficiencies have nothing to do with their ethnicity, nationality or cultural background. It has everything to do with ours.

I don’t lament the Olympics’ lack of Black back spinners any more than I disapprove of Elvis’ impersonation of Sister Rosetta Tharpe or the Mormon Tabernacle Choir singing a negro spiritual or Eric Clapton being listed as one of the “best blues guitarists of all time.” Olympic breaking represents a specific era of a specific thing that Black people once did; not the people or the culture that built it. 

We are the culture.

But there is a valuable lesson buried beneath the story of Rachael Gunn. Imagine being formally trained in the fundamentals of an art form by the best and brightest white artists. Imagine becoming so good at the thing white people taught you that you eventually become an international star. Imagine writing a thesis, performing around the world, teaching others and being selected to compete against everyone else who learned the white thing from white people. Now imagine knowing that, at any moment, all the fundamentals, creativity and artistry to which you dedicated your entire life could be made obsolete and banished to the trash heap of antiquity by the nerve and awesome power of the Black imagination. 

Olympic breaking might be dead, but the culture, influence and creativity that leaves the world awestruck will never die.

Because it is Black. 

Michael Harriot is a writer, cultural critic and championship-level Spades player. His NY Times bestseller  Black AF History: The Unwhitewashed Story of America is available in bookstores everywhere.

As it turns out, Janet Jackson and her famous set of siblings are not the only musical geniuses in the Jackson family tree. 

During an appearance on BBC’s “Radio 2 Breakfast Show,” the “Rhythm Nation” singer, 58, revealed that she’s related to not one, not two, but three extremely famous artists outside of the Jackson Five. 

Tracy Chapman, Stevie Wonder, and Samuel L. Jackson are reportedly all among her cousins. 

“He’s our cousin,” Janet said, speaking of Stevie Wonder. “Not a lot of people know that. He’s our cousin on my mother’s side. So is Tracy Chapman.”

After confirming that Chapman, 60, and Wonder, 74, were her cousins, Janet jokingly noted that Samuel L. Jackson, 75, “would be a cousin too — I mean, he’s not my brother.”

However, this may be news to the “Argyle” actor, who has previously denied being related to Michael Jackson. He denied the claim during a video feature for Wired magazine, where he answered the popular internet question with a resounding “nope.” 

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Janet, born Janet Damita Jo Jackson, famously grew up among her iconic Jackson Five brothers – which included Jermaine, 69, Tito, 70, Marlon, 67, and the late Michael – her brother, Randy, 62, and her sisters Rebbie, 74, and La Toya, 68. Janet is mom to son Eissa Al Mana, 7, whom she shares with her former husband Wissam Al Mana. Other notables in the Jackson family also include Michael’s children, actress and singer Paris, 26, Jackson Prince, 27, and Bigi, 22, and Jermaine’s 28-year-old son Jaafar, who will portray his late uncle in the upcoming biopic “Michael.” 

As for Janet, the pop star is gearing up for a European tour kicking off in early September in Paris. She plans to make multiple stops in the UK as well as Belgium, Germany, and the Netherlands. 

With her roles in the “X-Men” franchise, “Die Another Day,” “John Wick: Chapter 3” and “Bruised,” Halle Berry is a bonafide action star. This line of work looks cool on-screen, but comes with a dangerous side effect. The Oscar winner recently revealed the incredible toll these films have taken on her body.

While promoting her next big action movie, “The Union,” she told Netflix that her action films have led to 10 broken bones and her being “knocked out three times.”

“Arm broken, broke ribs twice — two ribs one time, three ribs another time — broke tailbone, broke two toes and [my middle] finger,” Berry said.

As the “Monster’s Ball” star described her various injuries, her co-star, Mark Wahlberg, was shocked by all the bones she’d broken.

In addition to all the injuries, she’s also picked up some new skills along the way explaining that she’s studied multiple martial arts and combat styles for her various projects.

“I’ve learned jiu-jitsu, some Muay Thai, kickboxing, taekwondo, and I learned how to shoot,” she said. “I learned capoeira for ‘Catwoman.’”

Berry has been in the business since the late ‘80s and won multiple awards, but it somehow feels like she still hasn’t truly gotten her due for how talented she is. As a Black actress she knows she’s not afforded the same opportunities as other artists, so when she suffered a major injury while filming the fight drama “Bruised,” she just powered through, which had to be extremely painful.

“[With ‘John Wick 3’] I told the director about it, they told the insurance. We had to shut down for months and it was a big ordeal,” Berry told Entertainment Weekly in 2021. “On [‘Bruised’], because it was an independent movie, we didn’t have a big budget. The director in me said, ‘I didn’t come this far and work this hard to go home.’”

Premiering Aug. 16 on Netflix, “The Union,” stars Berry as Roxanne, a spy who recruits her high school boyfriend Mike (Wahlberg)—who is just a regular guy—to help with a new mission.

Colman Domingo left everything on screen in his newest role of a wrongfully convicted man. 

In “Sing Sing,” Domingo stars as John “Divine G” Whitfield, a real-life person who served as a leader in the Rehabilitation Through the Arts program while incarcerated. RTA is a program that brings creative art workshops to over 230 incarcerated men and women across the country. As Whitfield fights for his release from prison, he finds belonging in a group of incarcerated men who are creating a theatrical stage show production through the program. 

The role required Domingo to stretch himself emotionally and give, what he calls, his most liberating performance yet. The Oscar nominee had just finished filming “The Color Purple” and was preparing to film “Rustin” when he began production on “Sing Sing” in 2022. Domingo says in a new interview with theGrio that he only had 18 days to complete the movie, forcing him to let go and dig deep. 

“Usually, I take myself through a very rigorous process of research and all this other detail that might drive a person crazy, but that’s my process,” the 54-year-old actor shares. “But this [film], I had to liberate myself in a different way. I had to just find out what was human, what was deeply connected to me as just a Black man in the world.”

“I could actually be in this situation, or could have been in the situation, and my life path would have gone a different way,” he adds. “But to cling to life and hope and art the way [Whitfield] has, because I think that’s what he had to do, and that’s truly essence of a spirit.”

Domingo says that he also had to liberate himself “with a company of men who may not have been professional actors, but they had respect for the craft.” “Sing, Sing” stars several actors who are formerly incarcerated people and participants in the RTA program playing former versions of themselves, including Clarence “Divine Eye” Maclin, who received critical acclaim for his performance.

“I couldn’t come in with any preconceived notions about them or their process. I had to be completely free and that’s the only way we can create a film that, I believe, has more soul work happening than anything.”

Domingo tells theGrio that he was a “leader” on set among the cast, but he made sure the other actors, whom he calls “craftsmen,” felt supported and had “the space to do their work.”

“I trusted that they were men who really did the work when they were in these programs, when they were incarcerated, and some of them do the work outside of it,” he explains. “Many of them have never done a film before. I never took that as something that was not great. I thought, ‘Oh, what a great opportunity that we can create something different.’ The texture will feel different; the authenticity will feel different because they have lived experience.”

Domingo gets emotional during his interview with theGrio while talking about one scene in particular, where his character embraces Maclin after being released from prison. In the scene, Whitfield has a complete breakdown, sobbing and releasing years of emotion, once Maclin hugs him.

“That scene was rewritten at least 20 times,” Domingo says about the scene that director Greg Kwedar shot in only one take.

“By the time we were going to shoot it, I asked Greg to give us a take where — we already have the bones of the scenes inside of us, but I think we just need to let it play out,” he says. “All I need to know from my character is that he’s been incarcerated for 25 years, wrongly convicted of a crime for 25 years. His last parole was seven years prior, where he had to stay on the inside. My own secret is his mother passed away as well, so he had no one waiting for him at the end.” 

“That scene, we shot it once and we knew that was it,” Domingo explains. Describing the scene as “organic and guttural,” Domingo says he had no idea that he would “let out that wail” the way he did.

“That came from my brother Clarence hugging me. The shared history of ‘this man can hold my pain, my trauma.’ It became, for me, a tied bow around our story of these two men who you never thought would get along at all, and suddenly they are truly responsible to each other on the outside. You got somebody there — Oh, I’m about to cry — you got somebody out there who’s got your back.” 

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Domingo, who was previously nominated for an Academy Award for his role in “Rustin,” is already receiving Oscar buzz for his performance in “Sing Sing.” The actor says the accolades are nice — not because of the glitz and glam, but because of the light it shines on the film and its meaning. 

“I think if it leads people to the film and the messages of the film, how wonderful,” Domingo concludes. “I made this with love. I made this with respect for these men, believing that their stories mattered. That’s why I was a producer on the film as well. I think stories like this matter. This is what I want to be out into the world. And if we get amplification and all this buzz and nominations and awards, I say, bring it on.” 

An Ohio grand jury decided whether the officer seen on body camera footage fatally shooting a pregnant Black woman should be held accountable for his actions… and it does not look good.

The Franklin County grand jury slammed Blendon Township Officer Connor Grubb with charges of murder, involuntary manslaughter and felonious assault. The indictment stems from August 24, 2023 when grocery store clerks called 911 on 21-year-old Ta’Kiya Young, who was 25 weeks pregnant, alleging she’d stolen bottles of alcohol, authorities said. Surveillance footage showed Young enter the wine and spirits side of the store with another woman, place bottles of alcohol into various tote bags and then walk into the general grocery area before exiting.

By the time Young made it to her car, body camera video showed Grubb and another officer approach her car, banging on the window and cursing at her various demands to exit the vehicle. Young then slowly pulled the car out of the parking space as Grubb placed himself in front of it. He then shot a single bullet through her windshield, striking Young in the chest.

Both Young and her unborn baby girl died. Despite various critics and the police union who defended Grubb saying he was forced to make a “split-second decision,” a grand jury found it necessary to make him face the gavel.

Read more from CBS News:

A Franklin County grand jury indicted Blendon Township police officer Connor Grubb on charges of murder, involuntary manslaughter and felonious assault. He is scheduled to be arraigned in court Wednesday.

Blendon Township Police Chief John Belford said in a video posted to Facebook that disciplinary proceedings against Grubb would begin immediately, noting that people under indictment can’t legally possess firearms. Belford said the town wasn’t involved in the outside investigation into the shooting.

The township’s policy on the use of force advises officers to move away from an approaching vehicle instead of firing their weapons unless they have reason to believe the car is being used as a deadly weapon, the report says. After almost a year of demanding the officer be charged, Young’s family finally got what they were advocating for. Though, it doesn’t heal the wound they bear from losing their loved one.

“He took a lot from us. It’s not fair. We don’t have her or the baby,” she said to CBS. “It’s been agony, it’s been like a whirlwind of hurt and pain.”

Black church leaders are determined to take back the narrative from white Christian nationalists, contending they have wrongfully used faith to justify policies that attack Black, brown, and LGBTQ communities and women. These leaders also see Vice President Kamala Harris, the Democratic presidential nominee, as the consummate political figure to help them push back against the Christian right’s agenda.

“She is the perfect warrior at this moment,” said Bishop Joseph Tolton, a pro-LGBTQ, Pan-African faith activist who recently convened Black faith leaders, including Dr. Rev. William Barber II and Bishop Yvette Flunder, to publicly condemn the pro-Donald Trump and Republican playbook known as Project 2025.

“The fact that she is African-American, but also a person of color, more broadly, and the fact that she is a woman, she [can] ignite a fire on the left,” Tolton told theGrio. 

Democrats and liberal activists have united in their outrage against Project 2025 and its connections to Trump and his presidential campaign, even as the Republican nominee has attempted to distance himself from the 922-page document experts warn will roll back freedoms for Black Americans and other minorities.

Black Christian leaders say they have a responsibility to enter the political arena and call out Trump and Republicans who use faith to justify policies like restricting abortion care and censoring LGBTQ identity in public spaces while also simultaneously attacking racial equity programs and suppressing voting rights.

“Pastors, both those who are in the LGBTQI community and other Black pastors, have to with precision take on the issues surrounding white nationalism and Project 2025,” Barber said during last week’s convening of The Fellowship of Affirming Ministries (TFAM), a network of pro-LGBTQ faith leaders.

“We have to have a retooling,” added the minister and longtime activist, who leads the Poor People’s Campaign. “The church has to become deeply offended by someone representing us as people of faith and claiming to have a monopoly on Christian faith.” 

Last Monday, Black church leaders also convened for a “Win with the Black Church” virtual kick-off organizing call in support of Harris’ presidential campaign, hosted by the Black Church PAC.

Rev. Dr. Otis Moss III, a board member of Black Church PAC, told theGrio that 16,000 attendees joined the call and raised $500,000 toward “voter outreach efforts” to safeguard Black voters from voter suppression this election cycle. 

Moss — who, along with other pastors, joined Black Church PAC as individuals, not leaders of their congregations — said it is “imperative” that Black church leaders speak out against “the destructive nature of Christian nationalism,” which he described as “white supremacy in ecclesiastical garments.”

“Let’s be clear that this kind of religious hijacking is as old as slave master religion,” Barber told theGrio, “It always pops up.”

Tolton — who has organized and advocated against Christian nationalism for years in the United States and on the African continent — says the policies supported by Christian conservatives and powered by Republican lawmakers are alarmingly similar to other periods in history when religion was used to subjugate and disenfranchise Black Americans and women. 

“We should not be surprised that conservative Christians have adopted Trump. It is very much so in keeping with the legacy of Christianity, where you had lynchings in the 1950s — not that long ago — that were held on the grounds of church properties and often done after worship services,” he explained. “That relationship between Christianity, colonization, slavery, the subjugation of Black bodies, the superiority of whiteness, all of all of this, historically, are elements that are a part of Christianity.”

Tolton noted that the civil rights movement of the 1950s and 1960s reminded us of how Black faith leaders challenged the status quo of religion and “taught us something very different about what Christianity should produce.”

Faith leaders see this moment, as Trump continues to ride a wave of support from Christian conservatism, to reclaim their political power. What’s more, they believe Harris may be just the candidate to help them do it.

Barber pointed out that Harris’ campaign launch focused on key policies aligned with the teachings of Jesus Christ.  

“When she made her opening comment as to why she was running for president, she named what ought to be one of America’s greatest moral failures that anybody seeking to lead this country should say upfront, I’m not going to have it, deal with it – and that’s child poverty,” Barber told theGrio. 

He added, “She said, I believe in the world where first you [should] be able to work one job. And so that means she believes in living wages.”

Moss said Harris has the “skill set” to combat Christian nationalism and the radical right, expressing his confidence in her ability to “articulate the challenges of white supremacist rhetoric.”

“But she cannot do it alone,” he continued. “It is important that voices within the faith community … speak up about the dangers of the ideologies that we are seeing.”

Moss added, “Christian nationalism, along with the radical right, seeks to remove the rights of people who are quote, unquote, different, who do not fit within a particular mythology of whiteness.”

“In the words of Vice President Harris, we’re not going back,” Moss declared, “But we also want to be able to frame what we believe will be the yet-to-United States of America that everybody brings a brush to paint on the canvas of our democracy.”

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