By Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

Shadra Strickland celebrates the historically Black tradition of double dutch with her new children’s book, “Jump In!”

The author and illustrator held a read along at The Enoch Pratt Free Library’s Waverly branch on Sept 28 to interact with young readers and their families. Strickland’s book highlights the importance of a community at play together, with bright illustrations that show young and old bonding through the power of the jump rope.

Strickland told the AFRO that art has always been a part of her life, she studied design, writing, and illustration at Syracuse University and furthered her education by earning her master’s at the School of Visual Arts in New York City. 

Strickland’s work has earned many awards, including the Coretta Scott King/John Steptoe Award in 2010, the same year she won an NAACP Image Award. She has also received the Ashley Bryan Children’s Literature Award, which she earned in 2011. 

Strickland has worked on several books as an illustrator, and shared that “Jump In!” allowed all of her artistic passions to collide.  

“I was able to combine all of those skills – writing, illustration and graphic design to come together and create books,” she said. 

The inspiration for “Jump In!” came from Strickland’s own memories and experiences of being outside with her friends at school and enjoying recess, which was a time she looked forward to– especially being an only child. 

“I spent a lot of time playing alone,” she said. “One of the things that was always really exciting about going to school was being able to have recess and go outside and play with my friends.”

Strickland said one day she came across a commercial that called up nostalgic memories of her childhood. She decided to write a book about the joys of playing outside as a kid in hopes of inspiring other children and people to get outside and play. 

“I hope that they can see themselves in those characters – I hope that it inspires them to want to go outside and play,” said Strickland. 

The book serves as an invitation to all people to play together. She shared that the diversity in the book is a reflection of the diverse neighborhood she grew up in as a child and the world she lives in today.

“This book particularly is an invitation for everybody,” Strickland told the AFRO. “All people, of different ages, genders– everybody– can come on the playground.” 

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By Johnathan Landrum Jr. and Hillel Italie
The Associated Press

Cissy Houston, a two-time Grammy-winning soul and gospel artist who sang with Aretha Franklin, Elvis Presley and other stars and knew triumph and heartbreak as the mother of Whitney Houston, has died. She was 91.

Cissy Houston died Oct. 7 morning in her New Jersey home while under hospice care for Alzheimer’s disease, her daughter-in-law Pat Houston told The Associated Press. The acclaimed gospel singer was surrounded by her family.

“Our hearts are filled with pain and sadness. We [loss] the matriarch of our family,” Pat Houston said in a statement. She said her mother-in-law’s contributions to popular music and culture are “unparalleled.” 

“Mother Cissy has been a strong and towering figure in our lives. A woman of deep faith and conviction, who cared greatly about family, ministry, and community. Her more than seven-decade career in music and entertainment will remain at the forefront of our hearts.”

A church performer from an early age, Houston was part of a family gospel act before breaking through in popular music in the 1960s as a member of the prominent backing group The Sweet Inspirations with Doris Troy and her niece Dee Dee Warwick. The group sang backup for a variety of soul singers including Otis Redding, Lou Rawls and The Drifters. They also sang backup for Dionne Warwick.

Houston’s many credits included Franklin’s “Think” and ”(You Make Me Feel Like) A Natural Woman,” Van Morrison’s “Brown Eyed Girl” and Dusty Springfield’s “Son of a Preacher Man.” The Sweet Inspirations also sang on stage with Presley, whom Houston would remember fondly for singing gospel during rehearsal breaks and telling her that she was “squirrelly.”

“At the end of our engagement with him, he gave me a bracelet inscribed with my name on the outside,” she wrote in her memoir “How Sweet the Sound,” published in 1998. “On the inside of the bracelet he had inscribed his nickname for me: Squirrelly.”

The Sweet Inspirations had their own top 20 single with the soul-rock “Sweet Inspiration,” made in the Memphis studio where Franklin and Springfield among others recorded hits and released four albums just in the late ’60s. The group appeared on Van Morrison’s “Brown Eyed Girl” and sang background vocals for The Jimi Hendrix Experience on the song “Burning of the Midnight Lamp” in 1967.

Houston’s last performance with The Sweet Inspirations came after the group hit the stage with Presley in a Las Vegas show in 1969. Her final recording session with the group turned into their biggest R&B hit “(Gotta Find) A Brand New Lover” a composition by the production team of Gamble & Huff, who appeared on the group’s fifth album, “Sweet Sweet Soul.”

During that time, the group occasionally performed live concert dates with Franklin. After the group’s success and four albums together, Houston left The Sweet Inspirations to pursue a solo career where she flourished.

Houston became an in-demand session singer and recorded more than 600 songs in multiple genres throughout her career. Her vocals can be heard on tracks alongside a wide range of artists including Chaka Khan, Donny Hathaway, Jimi Hendrix, Luther Vandross, Beyoncé, Paul Simon, Roberta Flack and Whitney Houston.

Cissy Houston went on to complete several records, including “Presenting Cissy Houston,” the disco-era “Think It Over” and the Grammy-winning gospel albums “Face to Face” and “He Leadeth Me.”

In 1971, Houston’s signature vocals were featured on Burt Bacharach’s solo album, which includes “Mexican Divorce,” “All Kinds of People” and “One Less Bell to Answer.” She performed various standards including Barbra Streisand’s hit song, “Evergreen.”

Never far from her native New Jersey or musical origins, Houston presided for decades over the 200-member Youth Inspirational Choir at Newark’s New Hope Baptist Church, where Whitney Houston sang as a child.

Cissy Houston would say that she had discouraged her daughter from show business, but they were joined in music for much of Whitney’s life, from church to stage performances to television and film and the recording studio. Whitney’s rise seemed inevitable, not only because of her obvious talents, but because of her background: Dionne and Dee Dee Warwick were cousins, Leontyne Price a cousin once removed, Franklin a close family friend.

Whitney Houston made her debut on national television when she and Cissy Houston sang a medley of Franklin hits on “The Merv Griffin Show.” Cissy Houston sang backup on Whitney’s eponymous, multi-platinum first album, and the two shared the lead on “I Know Him So Well,” from the 1987 mega-seller “Whitney.”

They would sing together often in concert and appeared in the 1996 film “The Preacher’s Wife.” Their most indelible moments likely came from the video for one of Whitney’s biggest hits from the mid-1980s, “Greatest Love of All.” It was filmed as a mother-daughter homage, ending with a joyous Whitney exiting the stage of Harlem’s Apollo Theater and embracing Cissy Houston, who stood in the wings.

On Feb. 11, 2012, Whitney Houston was found dead — from what was ruled as an accidental drowning — in a Beverly Hills bathtub. Cissy Houston would write about her daughter in the memoir “Remembering Whitney: A Mother’s Story of Life, Loss and The Night The Music Stopped.”

In 2015, Cissy Houston was grieving again when granddaughter Bobbi Kristina Brown, the only child of Bobby Brown and Whitney Houston, was found unconscious in a bathtub, spent months in a coma and died at age 22. The family was back in the news in 2018 with the release of the documentary “Whitney.” which included allegations that Dee Dee Warwick (who died in 2008) had molested Whitney when she was a girl.

Cissy Houston was briefly married to Freddie Garland in the 1950s; their son, Gary Garland, was a guard for the Denver Nuggets and later sang on many of Whitney Houston’s tours. Cissy Houston was married to Whitney’s father, entertainment executive John Russell Houston, from 1959-1990. In addition to Whitney, the Houstons also had a son, Michael.

Cissy Houston was born Emily Drinkard in Newark, the youngest of eight children of a factory worker and a housewife. She was just 5 when she and three siblings founded the Drinkard Singers, a gospel group that lasted 30 years, performing on the same bill as Mahalia Jackson among others and releasing the 1959 album “A Joyful Noise.”

She later said she would have been happy to remain in gospel, but John Houston encouraged her to take on studio work. When rockabilly star Ronnie Hawkins (along with drummer Levon Helm and other future members of The Band) needed an extra voice, Cissy Houston stepped in.

“I wanted to get my work done, and get it done quickly. I was there, but I didn’t have to be part of them. I was in the world, but I wasn’t of the world, as St. Paul put it,” Houston wrote in “How Sweet the Sound,” remembering how she soon began working with the Drifters and other singers.

“At least in the recording studio we were living together as God intended us to. Some days, we spent 12 or 15 hours together there,” she wrote. “The skin-deep barriers of race seemed to fall away as we toiled side by side creating our little pop masterpieces.”

Pat Houston said she is thankful for the many valuable lessons learned from her mother-in-law. She said the family feels “blessed and grateful” that God allowed Cissy to spend so many years.

“We are touched by your generous support, and your outpouring of love during our profound time of grief,” Houston said on behalf of the family. “We respectfully request our privacy during this difficult time.”

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By Stacy M. Brown
NNPA Newswire

John Amos, the Emmy-nominated actor and pioneering television star who brought to life some of the most beloved characters in entertainment history, has died at age 84. His son, K.C. Amos, confirmed in a statement that Amos passed away more than a month ago, on August 21, in Los Angeles of natural causes. The younger Amos didn’t say why he kept his father’s death under wraps for more than a month.

“It is with heartfelt sadness that I share with you that my father has transitioned,” K.C. said. “He was a man with the kindest heart and a heart of gold… and he was loved the world over. Many fans consider him their TV father. He lived a good life. His legacy will live on in his outstanding works in television and film as an actor.”

Amos’ acting career spanned over five decades, with his most iconic role being that of James Evans Sr., the no-nonsense, hard-working father on the groundbreaking CBS sitcom “Good Times” (1974–1979). The show, which was the first sitcom to center on an African American family, became a cultural touchstone, and Amos’ portrayal of James Evans Sr. made him a symbol of strength and dignity for countless viewers.

However, his time on the series was cut short after three seasons due to creative differences with the show’s producers. Amos famously clashed with the show’s direction, objecting to what he saw as the stereotypical portrayal of his on-screen son, J.J., played by Jimmie Walker.

“We had a number of differences,” Amos recalled in later interviews, according to the Hollywood Reporter. “I felt too much emphasis was being put on J.J. in his chicken hat, saying ‘Dy-no-mite!’ every third page.” Amos’ insistence on portraying a more balanced, positive image of the Black family on television led to his departure from the show in 1976, when his character was written out in a dramatic two-part episode.

Born John Allen Amos Jr. on December 27, 1939, in Newark, New Jersey, Amos began his professional life with dreams of playing football. He played the sport at Colorado State University and had brief stints with teams like the Denver Broncos and Kansas City Chiefs. But after a series of injuries and cutbacks, Amos transitioned to entertainment, beginning his career as a writer and performer.

Amos got his first major acting break as Gordy Howard, the good-natured weatherman on “The Mary Tyler Moore Show,” appearing on the iconic series from 1970 to 1973. He would go on to write and perform sketches on “The Leslie Uggams Show” and later landed roles in various television series and films.

In 1977, Amos received an Emmy nomination for his powerful portrayal of the adult Kunta Kinte in the landmark ABC miniseries “Roots,” a role that solidified his status as one of television’s most respected actors. Amos’ performance in “Roots,” one of the most watched and culturally significant television events of all time, remains one of his most enduring achievements.

In addition to his success on television, Amos made his mark in films. He appeared in Melvin Van Peebles’ groundbreaking blaxploitation film “Sweet Sweetback’s Baadasssss Song” (1971) and “The World’s Greatest Athlete” (1973). He was widely recognized for his role in “Coming to America” (1988), where he played Cleo McDowell, the owner of McDowell’s, a fast-food restaurant parody of McDonald’s. Amos reprised the role over three decades later in “Coming to America 2” (2021).

His filmography also includes the Sidney Poitier and Bill Cosby classic “Let’s Do It Again” (1975), “The Beastmaster” (1982), “Die Hard 2” (1990), “Ricochet” (1991), “Mac” (1992), “For Better or Worse” (1995), “The Players Club” (1998), “Night Trap” (1993) and “Because of Charley” (2021).

Amos was also a familiar face on television throughout the 1980s, 1990s, and 2000s, with recurring roles in shows like “The West Wing” as Admiral Percy Fitzwallace, chairman of the Joint Chiefs of Staff, and “The Fresh Prince of Bel-Air” as Will Smith’s stepfather. He appeared in “The District, Men in Trees, All About the Andersons,” as Anthony Anderson’s father, and the Netflix series “The Ranch.”

Beyond acting, Amos had a passion for writing and performing in theater. In the 1990s, when he found it challenging to secure roles in Hollywood, he wrote and starred in the one-person play Halley’s Comet, about an 87-year-old man waiting in the woods for the comet’s arrival. He toured with the production for over 20 years, performing in cities across the United States and abroad.

In addition to his onscreen and stage accomplishments, Amos co-produced the documentary America’s Dad, which explored his life and career. He was also involved in Broadway, appearing in Carl Reiner’s “Tough to Get Help” production in 1972.

John Amos’ life and career were not without personal challenges. In recent years, he was embroiled in a public legal battle between his children, K.C. and Shannon, over accusations of elder abuse. This unfortunate chapter cast a shadow over his later years. However, his legacy as a beloved television father and one of Hollywood’s pioneering Black actors remains untarnished.

Both K.C. and Shannon, children from his first marriage to artist Noel “Noni” Mickelson and his ex-wife, actress Lillian Lehman, survive Amos.

This article was originally published by NNPA Newswire. 

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By Milbert O. Brown Jr.
Special to the AFRO

The Bill Pickett Invitational Rodeo’s National Rodeo Finals was held Sept. 21 at the Show Place Area in Upper Marlboro, Md. 

Often referred to as the “Greatest Show on Dirt, ” the Bill Pickett Invitational Rodeo (BPIR) began in 1984 and this year celebrates its 40th anniversary of highlighting the Black cowboys and cowgirls and the rodeo culture that helped build the western part of the United States. 

The BPIR is more than just a rodeo; it’s a platform that reintroduces an essential aspect of Black western heritage into contemporary society. The BPIR also serves as a cultural event and opportunity for families to enjoy and embrace the cowboy culture while being educated and entertained with reenactments, history highlights and western adventure.

In 2024, the BPIR will feature four rodeos in Fort Worth, Texas; Denver, Co.; Memphis, Tenn.; Oakland, Calif.; Los Angeles, Calif. and Atlanta, Ga. 

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By Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

Baltimore Comic-Con welcomed thousands of enthusiastic fans to the Baltimore Convention Center from Sept. 20-22. The three-day event highlighted comics, anime, cosplay, book lovers and gamers.

This year was a memorable one. The convention celebrated its 25th anniversary of bringing people together in downtown Baltimore. Each day was jam-packed with activities and panel discussions, during which attendees could hear from some of their favorite artists and authors in the industry.

T.L. Price, an author, shared that she created the “Exiled Elementals Series” to provide representation of Black people in the urban fantasy space.

“I have three sons, and it was very important to me to have a fantasy book series that features African Americans, including females and strong male characters,” Price told the AFRO. 

The convention center’s main floor was separated into several sections, including an area to get comic books and artwork signed, a fantasy book alley, a gaming area and plenty more.

Cosplayers from Charm City and beyond arrived in detailed, creative costumes ranging from anime characters to superheroes. Each day, there were cosplay competitions for adults and children.

Farrah Jones and Michael Thurston attended the Baltimore Comic-Con in cosplay. Jones shared that this was her first time at a Comic Convention, but she was excited. 

“I’m a cosplay geek,” Thurston said. He explained that he was excited to bring Jones into his world. “This is her first time, and she’s super excited. She bedazzled everything herself, and I am excited for her,” Thurston told the AFRO.  

Retro games were a hit at the conference and are only becoming more popular. While some fans collect and store the games, others use them to relive memories. 

Alex Thomas reunited with one of his favorite childhood games, Pokémon Crystal, for the Nintendo Game Boy Color, released in 2001. 

“Finding this game feels amazing,” he said. “I can’t wait for my Game Boy Color to come back out. I bought one, but I didn’t buy any games for it—I was waiting for this.”

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent
@StacyBrownMedia

(NNPA Newswire) – Stevie Wonder has announced that he’s bringing a message of “joy over anger” this fall with his “Sing Your Song! As We Fix Our Nation’s Broken Heart” tour. The 10-show run begins on Oct. 8 in Pittsburgh and concludes on Oct. 30 in Grand Rapids, Michigan. This tour arrives at a crucial junction in American politics, and Wonder said he’s seeking to inspire unity and healing.

Wonder, a 25-time Grammy Award winner, will offer free tickets to individuals working tirelessly in their communities to mend what he calls “our nation’s broken heart.” The gesture aligns with Wonder’s long-standing commitment to social justice and humanitarian causes. In his recent release, “Can We Fix Our Nation’s Broken Heart,” Wonder sings about the country’s current challenges and reflects the nation’s mood with lyrics like: “Children marching on the boulevard / Tears are streaming down their face,” encapsulating the tension and hope for change.

Tickets for the tour go on sale Sept. 20, available through StevieWonderLive.com.

The Wonder Productions-led tour, which AEG Presents is promoting in collaboration with Free Lunch, will visit cities such as New York, Philadelphia, Baltimore, Greensboro, Atlanta, Detroit, Milwaukee, and Minneapolis.

Wonder’s impact on music and culture remains unquestionably profound. At just 12 years old, he became the youngest artist to top the charts with “Fingertips, Part 2,” simultaneously reaching No. 1 on Billboard’s Hot 100, R&B Singles, and Album Charts. Over his illustrious career, Wonder has released numerous iconic albums, including “Songs in the Key of Life,” which is preserved in the National Recording Registry of the Library of Congress for its cultural, historical and aesthetic significance. With 49 Top Forty singles and 32 No. 1 hits, Wonder’s worldwide sales have surpassed 100 million units.

Beyond his musical achievements, Wonder is known for his activism and philanthropy. In 1983, he played a pivotal role in establishing Martin Luther King Day as a national holiday, with his song “Happy Birthday” serving as an anthem for the movement. His participation in the 1985 “We Are The World” fundraiser for hunger in Africa is a landmark moment in music history, and his efforts to end apartheid in South Africa are legendary. Wonder has been recognized with numerous honors, including the Presidential Medal of Freedom, the Kennedy Center Honors, and a U.N. Messenger of Peace designation focusing on persons with disabilities.

As Wonder embarks on this tour, he continues to be a vital influence in both the music industry and global activism, using his platform to advocate for social progress and world harmony. With his call for “joy over anger,” Wonder said he’s inviting audiences to join him in “seeking healing and unity during these challenging times.”

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By Ericka Alston Buck
Special to the AFRO

Music mogul Sean “Diddy” Combs was arrested Sept. 16 in New York City on federal charges that include racketeering, sex trafficking and transportation to engage in prostitution. 

The U.S. District Court for the Southern District of New York (SDNY) released the unsealed indictment Sept. 17, following Combs’ arrest and months of investigation into his alleged involvement in organized criminal activity. The charges come on the heels of a pair of federal raids conducted earlier this year as part of the case.

At a press conference on Tuesday, U.S. Attorney Damian Williams provided further details, revealing that multiple AR-15 firearms, large-capacity magazines, and over 1,000 bottles of baby oil and lubricant were found during the raids. 

“These items are connected to the crimes outlined in the indictment,” Williams explained, pointing to what may be a broader and even more disturbing criminal operation involving Combs and others.

This arrest marks a significant escalation in the legal battles Combs has been facing for months. Earlier this year, the AFRO reported on Combs’ resignation from his role as chairman of Revolt TV after multiple lawsuits were filed, accusing him of sexual abuse. The most high-profile case involved his former girlfriend, Cassie Ventura, who filed a lawsuit accusing Combs of coercion and emotional abuse during their long-term relationship. The case was settled swiftly, but it cast a shadow over Combs’ public image, shedding light on allegations of controlling and abusive behavior​

In another article, AFRO explored the impact of New York’s Adult Survivors Act and the lawsuits against Combs. The law, which temporarily lifted the statute of limitations for survivors of sexual abuse, allowed victims like Cassie and others to file civil lawsuits, further complicating Combs’ legal battles. The lawsuits, along with these federal charges, are now at the center of a broader conversation about accountability in the entertainment industry and the unchecked power of high-profile figures​.

“Unfortunately, Mr. Combs’ response to the claims of sexual abuse and violence made against him has been the same as so many other powerful people who believe that they can behave badly with impunity,” said Attorney Tanya Bana, who is closely familiar with the case. 

Bana shared her thoughts on the legal situation and the behavior of powerful individuals like Combs. 

“At first, they all vehemently deny the victims’ claims. Then, when unassailable proof of the misconduct becomes public, they admit only what they must admit while continuing to maintain their innocence,” said Bana, in a statement. “At every stage, they are actively working to discredit the victims who have come forward, which perpetuates and magnifies the harm. This cycle of denial is playing out in workplaces across the country.”

“At least as to Mr. Combs, I would sincerely hope that the serious, disturbing and predatory nature of the offenses charged in the indictment will dispel any inclination people may have had to dismiss or minimize the accusations against him,” she continued.

The current federal charges against Combs, which include racketeering and sex trafficking, suggest a far more organized and sinister criminal network than previously imagined. Sources familiar with the investigation suggest that this case could uncover additional co-conspirators or victims, though authorities have been tight-lipped about revealing more details before court proceedings progress.

Combs, who has long been a towering figure in hip hop and entertainment, now faces the possibility of significant prison time if convicted. The gravity of the federal charges, combined with the earlier civil lawsuits, could have far-reaching implications for his career, legacy, and the wider entertainment industry.

As the case unfolds, the public will be closely watching, and these new developments may mark a turning point in how the industry reckons with issues of abuse, power, and accountability. For years, Combs cultivated a public persona as a business mogul and hip-hop icon, but these latest charges stand in stark contrast to that image, raising serious questions about his actions behind the scenes.

Stay tuned for further updates as we continue to cover this developing story and its potential impact on the music industry and beyond.

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By Brittany Marshall

First Lady Dawn Moore and the Maryland State Arts Council (MSAC) today announced the appointment of Lady Brion as Maryland’s 11th Poet Laureate. The first lady was joined by Maryland State Arts Council Executive Director Steven Skerritt-Davis and local members of the arts community in a ceremony at The Clifton House in Baltimore. 

“Lady Brion uses her voice to speak up for those who have gone overlooked and been left behind for too long. She is an ambassador for those who need hope, an advocate for those who need a fighter — and she will be a champion for all Marylanders, no matter their background, zip code, or personal story,” said First Lady Moore. 

“As First Lady, I am committed to working within the Moore-Miller administration to ensure that the arts are not just celebrated but are elevated in this state.”

Based in Baltimore City, Lady Brion is a spoken word artist, writer, cultural worker, and activist whose efforts focus on women’s empowerment and telling the story of the Black experience. The author of several written and recorded publications, Lady Brion is a mainstay in state, national and international spoken word scenes. In 2023, she performed before the inauguration ceremony of Governor Wes Moore and during the inauguration ceremony for Comptroller Brooke Lierman.

“I am deeply humbled and honored to accept the appointment as Poet Laureate of Maryland, a role that allows me to pay homage to the extraordinary poet Lucille Clifton. It is my mission to build upon her legacy, using the power of words to spark dialogue while fostering greater creativity, empathy and understanding across the state of Maryland,” said Lady Brion. “Special thanks to Governor and First Lady Moore, as well as the Maryland State Arts Council, for selecting me.”

Appointed by Governor Wes Moore, Lady Brion will serve as Poet Laureate providing public readings and programs for the citizens of Maryland. The honorary state position was established by the Maryland General Assembly in 1959. 

“Lady Brion exemplifies what it means to be Poet Laureate,” said Maryland State Arts Council Executive Director Skerritt-Davis. “Her talent, dedication to her craft and innate ability to engage people make her a natural fit for this prestigious role.”

For history of the Maryland Poet Laureate program and more details on Lady Brion’s role and booking information as Poet Laureate, visit msac.org/programs/poet-laureate.

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By Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

Baltimore Comic-Con is celebrating 25 years of gathering comic book enthusiasts and cosplay lovers at its annual event, which will be held at the Baltimore Convention Center Sept. 20-22. 

Attendees will have the exciting opportunity to meet with comic creators, authors and artists from around the world, and will have access to exclusive merchandise. There also will be on-site comic book and card signings as well as authorized grading services available.

Over 50 guests will be in attendance, including Afua Richardson (“Black Panther: World of Wakanda,” “Attack on Titan”), Sanford Greene (“Bitter Root,” “Black Panther”) and Keith Williams (“Web of Spider-Man,” “She-Hulk”) among others. Opportunities to attend panels and events with creators will take place daily.

There will be various cosplay contests for children and adults each day, so fans should be sure to put their best cape forward. 

Tickets start at $30 and increase depending on the package. Children 10 years old and younger will receive free admission with an adult who has purchased a ticket. 

For more information about Baltimore Comic-Con and tickets, visit www.Baltimorecomiccon.com.

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By Aria Brent
AFRO Staff Writer

With heavy hearts and a saddened soul, friends and family of Frankie Beverly, are mourning the  music icon’s Sept. 10 death. 

Best known as front man of the soul and funk group, “Maze featuring Frankie Beverly,” the crooner’s voice is easily recognized and often considered a staple at gatherings in the Black community. 

News of the rhythm and blues performer’s death at age 77 was announced via a heartfelt post on Instagram, shared by his family. 

“He lived his life with pure soul as one would say, and for us, no one did it better,” read the statement. “He lived for his music, family and friends.” 

Additionally, the family asked for privacy, understanding and respect as they come to terms with the loss of their beloved family member. 

Beverly had a career that spanned over 50 years. He announced his retirement and farewell tour earlier this year. The I Wanna Thank You tour kicked off in Atlanta in March of this year and concluded in July in Beverly’s hometown of Philadelphia, at the Dell Music Center. 

The “Happy Feelings” singer was born Howard Beverly on Dec. 6, 1946 and first started singing in church as a child. Though he was baptized in gospel culture, he would later exchange the church hymnals for a more secular sound. Beverly founded his first group “Frankie Beverly and the Butlers.” The group eventually broke up, and Beverly later founded “Raw Soul” in 1970.

After relocating to California, the group grew popular amongst local venues and eventually caught the attention of Marvin Gaye, who later had them as an opening act. It was Gaye who convinced the group to rename themselves to “Maze featuring Frankie Beverly,” and in 1977 the group dropped their self-titled debut album. 

For the last five decades Beverly and his band have become known for their sound that combines soul, funk and rhythm and blues, creating a music style that is uniquely theirs. Throughout the years artists like Beyoncé have honored Beverly with remixes of his more popular hits, such as “Before I Let Go.”

Always suited in his signature white linen garb and a baseball cap, Beverly’s legacy is reflected in both his music and style. 

Before his passing, Maze announced that they would be renaming the group to “Maze honoring Frankie Beverly,” as Tony Lindsay steps into the role of the band’s lead singer. 

The music the world received from Beverly is timeless and will continue to be a defining part of Black culture. Although he is gone he will never be forgotten.

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By Catherine Pugh
Special to the AFRO

Over 200 people gathered on Sept. 7 at Shiloh Baptist Church, in Washington, D.C. for the 2024 AFRO High Tea.  Watch the 360 video here.

The event attracted women in their fanciest outfits and gorgeous hats and fascinators. There were also some well-dressed men in attendance.   All present paid tribute and honor to four women who have distinguished themselves in political and community service. 

The honorees included Prince George’s County Executive and Maryland U.S. Senate Candidate Angela Alsobrooks; Cora Masters Barry, the civic leader, professor and widow of the man known as “D.C.’s mayor for life,” Marion Barry; Former mayor of D.C. and attorney, Sharon Pratt, and Congresswoman Eleanor Holmes Norton. 

Diane Hocker, AFRO director of community and public relations, coordinated the event, which opened with an introduction of the Mistress of Ceremonies (MC) for the occasion, Dr. Renee Allen, founder of Global Conscious Initiative, and LaTara Harris, CEO and president Crittenton Services of Greater Washington. The two MCs’ added balance to the program as they alternated duties of the program, while presenting entertainment and guests.

After being introduced, Dr. Frances “Toni” Draper,  AFRO CEO and publisher thanked the honorees and hundreds present. Robert Brown, served as entertainment for the afternoon, performing two songs for the audience. AFRO Executive Director and Advertising manager Lenora Howze gave the invocation before guests were served chicken, macaroni and cheese, sweet potatoes and salad. 

The award presentation portion of the program began with the introduction of County Executive Angela Alsbrooks, who cited the roles of each of the honorees as mentors, friends and employers in her life. 

“It was 32-years ago that I was hired by Congresswoman Eleanor Holmes Norton. At the New York Democratic National Convention in 1992, I was on the floor checking credentials and 32 years later I am on the floor of the Democratic National Convention in Chicago as a speaker. I thank the AFRO American Newspapers for continuing to tell our story.  I believe in you,” she told the audience. “When they see me. They will see you.  The best is yet to come.”  

After receiving her award, Cora Masters Barry said to Alsobrooks, “you’re going to be President one day.” The crowd erupted into applause. “We’re running this,” referring to Kamala Harris’ campaign to become president of the United States. 

“Don’t close that door,” she said, referring to the current class of strong, Black women leaders and the opportunities they can open for those to come. “Make sure one of us is walking through.”

Honoree Sharon Pratt, former mayor of D.C., gave a moving speech to the audience. 

“When I was captain of my line, Kamala Harris was being born,” said Pratt, speaking on Harris, her fellow Alpha Kappa Alpha Sorority member, now a candidate for the president of the United States.

“We’ve always been marginalized. When they said ‘Black’ they meant ‘Black men’…when they said ‘women’ they meant ‘White women,” said Pratt, before thanking the AFRO for the recognition. “If we don’t tell our story and tell it right, who is going to tell it?”  

When Congresswoman Eleanor Holmes Norton approached the podium the crowd rose to their feet with applause. Norton has represented the citizens of Washington, D.C. since 1991. The tenured Georgetown University professor also thanked the AFRO American Newspapers for the honor of being recognized alongside such distinguished women, who are pushing for change at the highest levels of government.

“Isn’t it just perfect that one of ours will be the first woman president of these United States?” asked Congresswoman Eleanor Holmes Norton. 

Each honoree received their own framed copy of the AFRO American Newspaper, featuring their story in a front-cover layout.

Aside from the awards, a highlight of the afternoon was the fashion parade, where attendees showed off their fascinators and hats. The nearly five-minute parade through the hall featured the women dancing, swinging their napkins and tipping their hats.As the festivities came to a close, Draper reminded those present to vote, guests gathered for photos, conversation and visits to the vendor section of the event, marking yet another successful AFRO High Tea in D.C.

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By Ericka Alston Buck
Special to the AFRO

James Earl Jones, an iconic figure whose voice and presence transcended generations, passed away Sept. 9 at the age of 93. 

Jones, celebrated for his unparalleled contributions to theater, film and television, left behind a legacy that will resonate for years to come. His representative, Barry McPherson, confirmed his passing, stating that Jones died peacefully, surrounded by loved ones.

“James Earl Jones was and will remain legendary,” said Janice Short, coordinator of theater arts at Morgan State University. “From 1969, when he recited the alphabet on ‘Sesame Street’…Roop, in the film, ‘Claudine,’ to ‘The Gin Game,’ he was the king of stage and screen. His ability to overcome impediments was as inspiring as his career. His voice will keep him immortal to so many. I am so happy to have been alive while he created.”

Jones and his unique sound traveled the globe time and time again, in unforgettable roles such as Darth Vader in “Star Wars,” and the voice of Mufasa in Disney’s “The Lion King.” However, his journey to stardom wasn’t an easy one. As a child, he suffered from a severe stutter that led him to remain nearly mute for years. 

Regarding this transformative time, the AFRO recorded Jones in 2014 saying, “I once did not speak. I was mute. When I finally did speak, though, I spoke as an adult.” 

It was the support of a dedicated teacher that helped him overcome this challenge, setting the stage for a career that would define generations.

Jones was known for his impact on the stage, and his death saddened the theater community worldwide, as they remembered the veteran actor’s role in classic productions, such as Gore Vidal’s “The Best Man,” and Tennesse Williams’ “Cat on a Hot Tin Roof.” 

Jones’ stage performances earned him three Tony Awards, including one for his role in “The Great White Hope.” He also earned two Emmy Awards, a Grammy and received an honorary Academy Award, solidifying his status as one of the most accomplished actors of his generation.

Despite his many accolades, Jones remained humble, calling himself a “journeyman” in a 2014 interview. His journey, however, was anything but ordinary. From his early days overcoming a stutter in rural Mississippi to becoming one of the most revered voices in entertainment, Jones’ career exemplified resilience, talent, and dedication.

His passing leaves a significant void in the world of entertainment, but his legacy lives on in the countless performances he brought to life and the voices he inspired. As his iconic characters continue to inspire new generations, James Earl Jones’ contributions will forever echo through time.

Grant Harvey, a stage actor and local adjunct theater in Baltimore, reflected on Jones’ influence. 

“We’ve lost a giant,” said Harvey. “James Earl Jones was such a captivating figure; from screen to stage, to television and voiceovers, he transcended generations with his talent. From movies like ‘Star Wars’ and ‘The Lion King’ to stage plays like ‘Fences’ and ‘The Great White Hope,’ he created a beautiful repertoire of work for generations to come to look back on. Forever in your debt, Mr. Jones.”

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By Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

Each year, Maryland Public Television (MPT)  dedicates a week to uplifting the history, innovation and under-told stories of historically Black colleges and universities (HBCUs) with its HBCU Week segments. This year, the network will feature programming Sept. 2-8.

Since 2020, MPT has broadcast a week-long series of HBCU news and history of the present, past, and future as part of its  “Standing Against Racism: Fostering Unity Through Dialogue” initiative. The initiative’s goal is to “stimulate thoughtful discussion and increase understanding of race-related issues in communities across Maryland,” MPT said in a statement.

This year will mark their fifth annual season of special programming with content produced locally and by individual producers.

This year’s programming will include 30 hours of HBCU based content and 12 premiere films that will debut across MPT TV, social media, and online platforms.

Some stories broadcasted throughout the week include “Journeys of Black Mathematicians: Forging Resilience,” “The Golden Year: Howard Women’s Basketball,” “The Morgan Lacrosse Story,” and many more inspiring stories regarding HBCUs across the nation on arts, music, history and sports. 

Take a look below at some of the events taking place this week:

History of a National Treasure: Morgan State University – Tuesday, September 3, 8-8:30 p.m.
Learn the story of Morgan State University in Baltimore, whose creation is rooted in the 1850 Fugitive Slave Act and born of the vision of five churchmen and former slaves, determined to lift their race through education.

George H. White: Searching for Freedom – Tuesday, September 3, 9:30-10 p.m.
View this documentary to learn about the life and legacy of one of the most significant African-American leaders of the Reconstruction Era. From humble beginnings in eastern North Carolina, George H. White, a graduate of Howard University, ascended to serve in the United States Congress as its sole Black voice little more than two decades after Emancipation.

Dr. Eddie Henderson: Uncommon Genius – Wednesday, September 4, 8-8:30 p.m.
Born on October 26, 1940, in New York City, Dr. Eddie Henderson is a renowned American jazz trumpeter and flugelhorn player. He is known for his lyrical phrasing and inventive improvisations, blending traditional jazz with contemporary elements such as funk and soul. Learn about this musician and his legacy during MPT’s HBCU Week on Sept. 4. 

Artworks: Imani-Grace Special – Wednesday, September 4, 8:30-9:30 p.m.
With a voice compared to Billie Holiday, Howard University graduate Imani-Grace Cooper has performed alongside jazz greats such as Esperanza Spalding and George Duke. In this Artworks special, Cooper performs Black American music classics that harken back to the jazz legends of the past, soul singers of the present, and a sound for the future.

Artworks: The Art of Strings – Wednesday, September 4, 9:30-10 p.m.
The Randolph String Quartet, a preeminent group of siblings – and Howard University alumni – who perform around the world, teaches viewers about the classic string ensemble format through classic and contemporary repertoire. This Artworks episode features performances by the quartet and offers a look at issues of diversity in classical music.

The Golden Year: Howard Women’s Basketball – Thursday, September 5, 8-8:30 p.m.
Since 1974, the Howard University women’s basketball program has been committed to excellence that extends beyond the court. Facing triumph and challenges, the team continues to raise the bar while embodying the spirit of resilience, determination, and pride. Learn about this golden year on Sept. 5 at 8 p.m.

Inside the CIAA: Impact – Thursday, September 5, 8:30-9 p.m.
Discover the impact that the CIAA Tournament – the nation’s largest and oldest HBCU postseason basketball tournament – has on the city of Baltimore, including its thriving Black business community.

Local, USA | HBCU Week: Tradition and Competition – Thursday, September 5, 9-9:30 p.m.
Experience the football culture of HBCUs, featuring the historic rivalry of Hampton and Howard since 1908 and the intense matchups of N.C. A&T vs. N.C. Central. This episode highlights the camaraderie and competition in HBCU sports and their impact on African American communities.

The Dream Whisperer – Thursday, September 5, 9:30-10:30 p.m.
In the midst of segregation, the all-Black Tennessee A&I Tigers became the first collegiate basketball team to win three consecutive national championships. Captain Dick Barnett fought to secure recognition for his team. Discover their triumph over adversity and Barnett’s relentless effort to preserve their legacy.

State Circle Special: Where Do We Go From Here? – Friday, September 6, 7-8 p.m.
Learn about groundbreaking new programs and initiatives at the six HBCUs located in the Maryland area from their visionary presidents and award-winning faculty and students.

Journeys of Black Mathematicians: Forging Resilience – Friday, September 6, 9-10 p.m.
Severely underrepresented in mathematics, African Americans have played important roles as researchers and educators in the field. This film traces the history of the individuals who worked as pioneers in expanding the presence of African Americans in mathematics.

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By Aria Brent
AFRO Staff Writer
abrent@afro.com

On July 4 South Baltimore’s Cherry Hill neighborhood put community and culture on full display with the Cherry Hill Arts and Music Waterfront Festival.

For nearly a decade the festival has been shining a light on the many contributions Black people have made to the arts, all the while showing off their southside pride.The event is still full of family-friendly fun, interactive and educational activities and of course, fireworks. 

“This is my fourth or fifth year coming,” said Charles Dugger, a retired school teacher and community activist. “They like me to come and talk about Kwanzaa. We try to use the principles in everyday life.” 

Dugger spoke on how vital the festival is in bringing the city together. 

“We have to find a common denominator,” he said. “I used to teach in this community long ago and we try to say that we are more alike than different.” 

Similar sentiments were expressed by Maryland Comptroller Brooke Lierman. 

“I never miss the Cherry Hill Arts and Music Waterfront Festival,” she said. “It’s an important event here in South Baltimore. It brings people from all over the region together for resources, music and great food. I love coming here every year, seeing old friends and making new ones.”

Betty Baze, who serves as chair of the bylaws committee for the Cherry Hill Development Corporation. 

“It’s very important for people to come out,” said Baze. “This is the eighth anniversary of this free festival and this is a great time for people to come meet people, love people and enjoy different cultures. 

Baze spoke with the AFRO about working with the Cherry Hill Development Corporation and how it helps make Baltimore a better place. 

“It’s good to have participation in community organizations, it helps,” she explained. “We work together and pull together when things are needed in the community for all ages.”

The one-day event featured performances from Sister Carol featuring Nakeeba Amaniyea, N’Dea Davenport, Navasha Daya, the Latin band, Orquesta Nfuzion, and many other artists.

The historical Black neighborhood is home of many notable figures of the past and present, including Congressman Elijah Cumings, Jazz singer Ethel Ennis and Judge Robert Bell.

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By Maria Sherman
AP Music Writer

The BET Awards return June 30, with a performance-filled show that will kick off with a fiery set from Megan Thee Stallion, two days after the release of her third studio album.

The show, which takes place at the Peacock Theater in Los Angeles, will be hosted by Oscar-nominated actor Taraji P. Henson for a third time.

Performers will include Lauryn Hill and her son YG Marley, Childish Gambino, Ice Spice, Tyla, Chlöe, Coco Jones, Keke Palmer, Marsha Ambrosius, Summer Walker, GloRilla, Latto, Muni Long, Sexyy Red, Shaboozey, and Victoria Monét. Will Smith will perform a new song, though no details were announced. The Grammy and Oscar winner is still emerging from the infamous Oscars slap two years ago, with the successful launch of “Bad Boys: Ride or Die” helping boost his comeback. And country musician Tanner Adell will also perform on the BET Amplified stage.

The BET Awards will air live beginning at 8 p.m. Eastern on BET from the Peacock Theater in Los Angeles. It will be simulcast on Comedy Central, Logo, MTV, MTV2, Pop, TV Land, Nickelodeon at Nite and VH1.

Drake leads the nominations, just like he did last year. Those include an album of the year nod for his eighth studio album, “For All the Dogs.” One of the awards he’s up for is the music video for “First Person Shooter,” his collaboration with J. Cole that may have been a catalyst for his recent beef with rapper Kendrick Lamar.

Nicki Minaj follows with six, including for album of the year for her highly anticipated “Pink Friday 2” release. Two of her nominations were for her song with Ice Spice, “Barbie World,” part of the blockbuster “Barbie” soundtrack.

J. Cole, Sexyy Red, SZA and best new artist Grammy winner Victoria Monét tie with five nods; 21 Savage, Beyoncé, Doja Cat, Megan Thee Stallion, Tyla and Usher boast four each.

Usher will take home the lifetime achievement award — one of the highest honors at the BET Awards, given to Busta Rhymes at last year’s ceremony and Sean “Diddy” Combs the year prior. The R&B superstar is an eight-time Grammy winner who recently ended a two-year Las Vegas residency, “Usher: My Way” at the Park MGM. In February, he released his first solo album in eight years, and in August is scheduled to kick off a 24-city U.S. tour titled “Past Present Future.”

Usher’s 2024 Super Bowl halftime performance drew acclaim and included guest appearances by such stars as Alicia Keys, H.E.R., Jermaine Dupri, Lil Jon and Ludacris. His album “Confessions” has sold more than 10 million units in the U.S., ranking it among one of the best-selling music projects of all time. It launched No. 1 hits such as “Yeah!” with Ludacris and Lil Jon, “Burn” and “Confessions Part II.”

Presenters include Andra Day, Colman Domingo, DC Young Fly, Devale Ellis, Jay Ellis, Jessica Betts, Ms. Pat, Niecy Nash-Betts, Saucy Santana and more.

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By Deyane Moses
Special to the AFRO

A powerful new exhibition is set to open in Baltimore on June 19, offering a multifaceted exploration of Black history, identity and imagination. “Soon Come” explores beyond traditional narratives, foregrounding the enduring strength and creative spirit of Black communities.

Opening on Juneteenth, the exhibition, curated by Sharayna Christmas, executive director of Muse 360, and co-curated by Jordan Carter, Program Manager of Muse 360, goes beyond mere commemoration. 

Through a vibrant tapestry of textiles, photography, video, sound, assemblage and poetry, emerging artists from the New Generation Scholars Young Artist Archival Fellowship reclaim lost histories and reimagine a future brimming with possibility. 

The fellowship is offered by Muse 360, a Baltimore-based youth organization with a radical mission. Since 2004, Muse 360 has been dedicated to helping Baltimore’s youth cultivate their voices and artistic talents as a path to self-knowledge. 2024 marks the second year that Afro Charities has partnered with the organization to produce this program.

This year, the program expanded to include young adults aged 18-22, pairing them for the first time with mentors in the fields of art, scholarship, and the archives to guide their artistic journeys. Participants will also receive a stipend for successfully completing the program. During the past six months, the fellowship has deepened their archival and creative practices, empowering them to create new bodies of work that challenge and inspire their audiences.

“I have been a member of the New Generation Scholars Artist Archival Fellowship since January 2024,” Daisha McIlwain said. “I’ve been able to grow alongside fellow artists of different mediums and explore art from the past and present through archival research.”

For this exhibition, fellow Teylah Saunders created a new textile work titled, “So, what about the heart?” The piece includes a woven blanket collaged with images from Saunders’ family archive. The work is embellished with embroidery and beading. 

“Woven blankets have such a rich history within the Black community,” said Saunders. “I love the idea of weaving together narratives into something you can hold and embrace.”

“Soon Come” is not just a display of art, it’s an opportunity for viewers to confront the past, celebrate revolutionary love, delve into the depths of Black spirituality, and recognize the boundless creativity that has always fueled Black progress. The 2024 Cohort of New Generation Scholars Young Artist Archival Fellows—Breyanna Dabney, Daisha McIllwain, Khalil McFarlane, Lory Charles, Sha-Shonna Rogers, and Teylah Saunders—promise to deliver a moving and thought-provoking exhibition that will deepen your understanding of Black history and culture.

The exhibition debuts at The 360 House, a new intergenerational space that will provide activations for artist residencies, screenings, and will be the home base of Muse 360. RSVP for the opening reception on Wednesday, June 19th, from 5 p.m. to 8 p.m. at: linktr.ee/ngsworld. The address will be disclosed upon confirmation of attendance with RSVP.For more information on the New Generation Scholars Young Artist Archival Fellowship program or to donate to Afro Charities, please visit https://www.afrocharities.org/.

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By Gabrielle Howard
AFRO Intern
ghoward@afro.com

AFRAM is once again returning to Baltimore, bringing with it free activities and entertainment in a celebration of all things related to Black culture, art, food, business, fashion, music and more. Talented artists like Busta Rhymes, October London and Big Daddy Kane will grace the stage during the event, which will take place from 12 p.m. to 9 p.m. on June 22 and 23 inside of Baltimore’s Druid Hill Park.

The City of Baltimore puts on AFRAM 2024 each year with the help of special partners. The two-day festival brings together the most creative and impactful voices in music and various forms of art. 

Mayor Scott explained how important it is for Baltimore’s history to be celebrated as well as the community.

“As one of the largest Black arts and culture fairs on the East Coast, it gives us an opportunity to celebrate the best of Baltimore and gather together to show the world what we have to offer,” said Scott, in a statement. 

The festival was founded in 1976 and has been a place to gather with the community and celebrate the diaspora of Black culture. 

This year’s AFRAM will also serve as a celebration of house music, which reaches the 40-year mark in 2024. The music genre has its roots in Baltimore. 

“I could not be more excited that this year we’re celebrating 40 years of house music with the help of legends like the Basement Boys and welcome fantastic artists like Busta Rhymes, Mya, Alex Isley and many, many more that will ensure there is an act for all ages on this year’s AFRAM stage,” said Scott. 

There is free limited parking around Druid Hill Park, as well as on-street and in select lots near the Maryland Zoo and Druid Hill Pool. 

Attendees can also grab a bite to eat close by at La Cuchara, Cosmia, or Terra Cafe while attending the event. 

CANE Collective and The SEED School of Maryland are AFRAM’s partners; and WJZ-TV and 92Q Jams are AFRAM’s broadcast media sponsors.

To be a volunteer you must be 18 years old and benefits for volunteers include lunch, an AFRAM shirt and volunteer hours.

To stay up to date or learn more about AFRAM visit aframbaltimore.com for more information.

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By Ericka Alston Buck
Special to the AFRO

In a startling reversal, Sean “Diddy” Combs has publicly admitted to a 2016 assault he previously denied, marking a significant moment of accountability for the music mogul. 

On May 19, Combs posted a video on Instagram acknowledging the attack, which had been described in a lawsuit filed by model and singer Cassie Ventura.

The video confession followed the release of disturbing footage by CNN, which showed a man, identified as Combs, physically attacking a woman who appears to be Ventura as she attempted to leave a hotel room. The incident closely mirrors the account Ventura provided in her November 2023 lawsuit, in which she detailed a relationship marred by physical violence, abuse, and sex trafficking.

Ventura, who was involved with Combs from 2007 to 2018, alleged that in the 2016 incident, Combs forced her to engage with a male sex worker while he watched. When she tried to leave the hotel room afterward, Combs allegedly attacked her. Ventura claimed that Combs later paid the hotel $50,000 for the security footage of the incident.

Initially, Combs vehemently denied Ventura’s claims. His attorney, Ben Brafman, called the allegations “offensive and outrageous,” and accused Ventura of attempting to extort $30 million by threatening to write a damaging book. Despite these denials, Combs settled the lawsuit the following day for an undisclosed amount, maintaining that the settlement was not an admission of guilt.

“For the past six months, Mr. Combs has been subjected to Ms. Ventura’s persistent demand of $30 million, under the threat of writing a damaging book about their relationship, which was unequivocally rejected as blatant blackmail,” Brafman stated. “Mr. Combs’ decision to settle the lawsuit does not in any way undermine his flat-out denial of the claims. He is happy they got to a mutual settlement and wishes Ms. Ventura the best.”

Despite the settlement, Combs continued to deny the allegations. In December 2023, after three additional women filed suits against him claiming rape and sexual assault, he issued a statement vehemently denying all accusations and declaring his intent to defend his reputation.

However, Combs’ position changed dramatically with his Instagram video. “It’s so difficult to reflect on the darkest times in your life, but sometimes you’ve got to do that,” Combs said in the video. “I was f*d up—I hit rock bottom—but I make no excuses. My behavior on that video is inexcusable.”

Combs expressed deep remorse for his actions, saying, “I take full responsibility for my actions in that video. I was disgusted then when I did it. I’m disgusted now.” 

He also revealed that he sought professional help, including therapy and rehab, and asked for divine mercy and grace.

The public reaction to Combs’ admission has been mixed, with some applauding his transparency and others remaining skeptical.

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By Ericka Alston Buck,
Special to the AFRO

The latest twist in the legal saga surrounding hip-hop icon Sean ‘Diddy’ Combs has revealed new allegations of sex trafficking, as the spotlight on sexual assault and harassment in the entertainment industry widens.

On March 25 two residential properties of Combs, the entertainment mogul who rose to fame through the 90s and 2000s, were raided by authorities. Video of law enforcement officers simultaneously executing search warrants on different coasts of the country were broadcast live by news networks at home and abroad.

Now, sex trafficking advocates are weighing in on the allegations against the man who has become a staple of the entertainment industry.

Natasha Guynes, founder and president of HER Resiliency Center, poignantly spoke with the AFRO about the troubling intersection of power and abuse in the music industry. 

“Sex trafficking is about power and control. Traffickers with significant influence such as Diddy gaslight their victims,” she said. According to the definition provided by Psychology Today, “gaslighting” is a form of manipulation where a victim begins to “question what they know to be true, often about themselves. They may end up doubting their memory, their perception and even their sanity.”

Gunes said victims may be slow to seek help because “doubt and victim-blaming are the first reactions to accusations against traffickers with power, due to the belief that the influential individual would never commit such a crime.”

She added that “enablement by those around the trafficker” is typical because those who witness the trafficking know their “livelihoods depend on the influential individual.”

“This is the exact reason why R. Kelly and Jeffrey Epstein were able to continue trafficking young females for decades, while no one believed their victims,” she said.

An amended lawsuit against Combs, filed by music producer Rodney “Lil Rod” Jones Jr., adds actor Cuba Gooding Jr. to the list of defendants, alleging sexual assault during an incident aboard a yacht rented by Combs in the U.S. Virgin Islands in January 2023. Jones previously accused Combs of sexual assault in a lawsuit filed last month.

According to the complaint, Combs attempted to introduce Jones to Gooding and left them alone in a studio on the yacht, where Gooding allegedly subjected Jones to unwanted touching and groping. The lawsuit also implicates other celebrities, including rapper Caresha “Yung Miami” Brownlee and producer Steven “Stevie J” Jordan, in alleged incidents of sexual assault and misconduct.

The raids of Combs’ homes add another layer of complexity to the ongoing legal battle, highlighting the far-reaching implications of power dynamics and accountability in cases of sexual assault and exploitation.

In recent months, civil lawsuits filed by four women have accused Combs of rape, assault and other abuses spanning three decades, with one allegation involving a minor. These claims have sent shockwaves through the entertainment world, threatening Combs’ empire and reputation.

While authorities have remained tight-lipped about the specifics of the case, sources familiar with the investigation indicate that federal authorities have interviewed at least three women. The allegations in the civil lawsuits could provide investigators with a roadmap as they seek to build a criminal case against Combs.

Combs’ legal team has staunchly denied any wrongdoing on his part, emphasizing his innocence and commitment to fighting the allegations. 

As the investigation unfolds, all eyes are on the outcome, with the hopes that accountability and justice will be served for the alleged victims. The case against Combs represents a critical moment in addressing alleged sexual abuse and exploitation in the entertainment industry, underscoring the importance of holding powerful individuals accountable for their actions.

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Ericka Alston Buck 
Special to The Afro

Celebrating the life and legacy of Louis trailblazing actor Gossett Jr.
By Ericka Alston Buck 
Special to The AFRO

The world is mourning the loss of a legendary actor whose talent and charisma graced both the big and small screens for decades. Louis Gossett Jr., an icon of stage and screen, died March 29 at the age of 87, leaving behind a legacy that forever will be cherished by fans and peers alike.

Gossett’s journey in the entertainment industry was nothing short of remarkable. 

Born in Brooklyn, New York, on May 27, 1936, he discovered his passion for acting at a young age and pursued it with unwavering determination. His early years were marked by perseverance and hard work, as he honed his craft on stage and screen, steadily carving a name for himself in an industry that often presented formidable challenges.

In 1953, Gossett made his Broadway debut at the age of 16 after his English teacher encouraged him to try out for “Take a Giant Step.”

“I knew too little to be nervous,” Gossett wrote in his memoir. “In retrospect, I should have been scared to death as I walked onto that stage, but I wasn’t.”

In 1959, he appeared in the acclaimed play “A Raisin in the Sun,” portraying George Murchison alongside a stellar cast led by Sidney Poitier. His performance earned him critical acclaim and set the stage for a prolific career that would span over six decades.

He reprised that role in 1961 in the Hollywood version of the play, marking his first appearance in the silver screen.

Throughout his illustrious career, Gossett distinguished himself as a versatile actor capable of embodying a wide range of roles with depth and authenticity. From powerful dramas to lighthearted comedies, he captivated audiences with his commanding presence and magnetic charisma. Whether playing a tough drill sergeant in “An Officer and a Gentleman” or a compassionate mentor in “Roots,” Gossett brought a level of nuance and gravitas to his performances that left an indelible mark on the hearts and minds of viewers.

One of Gossett’s most iconic roles came in 1982 when he portrayed Gunnery Sergeant Emil Foley in “An Officer and a Gentleman,” opposite Richard Gere. His portrayal of the no-nonsense drill instructor earned him widespread acclaim and garnered him the Academy Award for Best Supporting Actor, making him the first African American male to win in that category.

Beyond his impressive body of work on screen, Gossett was also a trailblazer for diversity and inclusion in Hollywood. Throughout his career, he advocated for greater representation of people of color in the entertainment industry, using his platform to amplify marginalized voices and push for meaningful change. His efforts paved the way for future generations of actors and filmmakers, inspiring them to pursue their dreams and break down barriers in an industry often resistant to change.

As news of Gossett’s death spreads, tributes pour in from fans, colleagues and admirers around the world, each one reflecting on the profound impact he had on their lives and the industry as a whole. For many, Gossett was more than just an actor; he was a beacon of hope and inspiration, a symbol of resilience and perseverance in the face of adversity.

His legacy will endure through the countless lives he touched and the timeless performances he delivered. From his groundbreaking work in “Roots” to his unforgettable turn in “Iron Eagle,” Gossett’s influence reverberates far beyond the confines of the silver screen, reminding us of the power of storytelling to unite, inspire, and uplift.

“He was a remarkable actor and professional. He showed up to set and to life with generosity and great wisdom regarding entertainment,” said Baltimore entertainer Rain Pryor, an American actress. Her television credits include sitcoms “Head of the Class” and “Rude Awakening.” She is the daughter of comedian legend Richard Pryor. 

“The man was an amazing actor very professional on and off set,” said fan Doug Magoch. “Every movie I have seen of his, the depth of his acting made you believe his characters. He, in my eyes, is in a class of his own. He will surely be missed.”

CORRECTION: A previous version of this story was changed to correct Gossett’s age and the year and play in which he made his Broadway debut among other editorial revisions.

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By Special Release 

The Studio Acting Conservatory will host a six-day public view of the Last Supper sculpture, created by artist Akili Ron Anderson, coinciding with the Easter holiday. The event will kick off on March 22, from 2 to 5 p.m., with select days until March 30. Attendees will have the opportunity to immerse themselves in this masterpiece’s rich history and profound significance through engaging discussions led by knowledgeable gallery docents. 

As stewards of this artwork, the Studio Conservatory is committed to fostering dialogue and understanding by providing public openings and educational programming to explore its relevance in today’s socio-religious environment. This groundbreaking artwork amplifies the representation of religious art in the 21st century, serving as a testament to the enduring significance of cultural diversity and inclusion.

Akili Ron Anderson, a remarkable AfriCOBRA artist, created the Last Supper sculpture in the 1980s for the New Home Baptist Church. The sculpture portrays Jesus and his disciples as African American men hidden behind drywall for many years. During renovations by the Studio Acting Conservatory in November 2019, the sculpture was discovered. Anderson’s stunning work of art is a powerful reminder of the importance of preserving cultural heritage and the lasting impact of art on our lives.    

As we reflect on Holy Week, we are grateful to share the Last Supper sculpture with you, inviting you to experience its beauty and resonance firsthand.

When: Friday, March 22, Saturday, March 23, Sunday, March 24 – 26 from 2- 5pm and Friday, March 29 from 11-5pm and Saturday, March 30 from 2-5pm. Check our website for other open hours. https://lastsuppersculpture.org/

Where: Studio Acting Conservatory | 3423 Holmead Place, NW, Washington, DC 20010.  Enter through the main entrance at the top of steps. ADA entrance on the south side of the building. More  information about parking and Metro at https://studioactingconservatory.org/about/location 

Cost: Free 

Please contact Bacarri Byrd via email at  bacarri@studioactingconservatory.org  or by phone at 443-961-5366 for more information. 

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By Megan Sayles,
AFRO Business Writer,
msayles@afro.com

The Walters Art Museum will invite AFRO Publisher Frances “Toni” Draper to share the journey and accomplishments of the Black-, family-owned newspaper while in conversation with Curator of Rare Books and Manuscripts Lynley Herbert on March 23. The discussion will tie into the stories of women who have created and published books in the museum’s collection.  

“The Walters has always been a favorite museum of mine. I’m happy to be back there,” said Draper. “I love the fact that we are making connections between women of different eras and cultures as creators and women of the AFRO as creators, including women who were involved in the founding all the way up until the women involved today.” 

The founding of the AFRO originated from an investment by Draper’s great-grandmother. Martha Howard Murphy, wife of John H. Murphy, Sr. , lent her husband $200 to purchase the newspaper in 1892. 

Today, under Draper’s leadership, the media company continues to serve the community with a focus on Black news and Black issues. Savannah Wood, fifth-generation of the Murphy family, serves as executive director of  AFRO Charities, which oversees the extensive archival collection. The AFRO archives encompass three million photographs, thousands of letters and rare audio recordings. 

“The women who are curating our archives are all young women with a passion for the work—not just from a historical perspective but from a creative perspective,” said Draper. “I think that’s fascinating, and I’m excited to be a part of that.”

During the program, Herbert and Draper will draw connections between the Murphy family and the Calderon-Benavides family, which spawned seven generations of printers in Mexico—many of whom were women—from 1631 to 1815.  

“I have three books in the exhibition by the first three generations of women printers, and I am continuing this strategy to acquire books by the entire seven generations of printers,” said Herbert. “The AFRO’s story connects really beautifully with its many generations and strong women leaders.” 

Herbert started at the Walters Art Museum fourteen years ago. At that time, the museum possessed just four works by women in its collection, which represents nearly 3,500 rare books and 1,000 manuscripts spanning centuries. 

Since then, Herbert has made it her mission to bring more women’s stories to the collection, as their voices have been historically viewed as unimportant. 

“I want people to be thinking about women as having agency over their lives even in earlier periods. I think they get overlooked,” said Herbert. “Even across our entire art collection, there’s very few women makers, and a lot of times their voices are lost. That’s something I am trying hard to bring back to the surface with these acquisitions.” 

The March 23 is free to the public, and interested attendees can register on the Walters Art Museum’s website. 

Megan Sayles is a Report for America corps member. 

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By Jonathan Landrum Jr.,
AP Entertainment Writer

LOS ANGELES (AP) — Usher was named entertainer of the year at the 55th annual NAACP Awards on March 16, which highlighted works by entertainers and writers of color.

After Usher accepted his award at the Shrine Auditorium in Los Angeles, the superstar R&B singer spoke about being thankful about the journey of his successful career that has lasted three decades.

He reeled off several of his recent big moments including his sold-out residency in Las Vegas, getting married, releasing his ninth studio album “Coming Home” and his Super Bowl halftime performance, which became the most-watched in the game’s history.

Usher beat out Colman Domingo, Fantasia Barrino, Halle Bailey and Keke Palmer.

“I don’t know how many people do that much stuff in one setting,” said the multi-Grammy winner, who was presented the award by Oprah Winfrey. After being surprised by Winfrey’s presence, he thanked those who have supported him throughout the years.

“This is for you, you, my number ones,” the singer said as the audience repeated his words back to him. 

The final words of his speech were recited lyrics from his popular song “Superstar” from his 2024 album “Confessions,” which has sold more than 10 million units in the U.S.

Earlier in the ceremony, Usher was honored with the President’s Award for the singer’s public service achievements through his New Look Foundation. He thanked the strong women in his life, including his mother and wife Jenn Goicoechea, whom he married after his Super Bowl halftime performance last month.

“They say behind or beside or with every strong man is a stronger woman,” he said.

Queen Latifah hosted the awards ceremony aired live on BET.

“The Color Purple” was awarded best motion picture. The musical film featured a star-studded cast, including Barrino, Taraji P. Henson, Domingo, H.E.R., Danielle Brooks, Corey Hawkins and Bailey.

Barrino, who starred as Celie in the film, won for best actress in a motion picture.

“I didn’t prepare a speech, because I didn’t think I was going to win,” the singer-actor said. “I was afraid to play Celie, but I’m glad I did. Because I kept saying ‘If I don’t win an award, the awards that I will win will come from the people who watched ‘Color Purple’ and the women who will relate to her and feel like Oscars when they walk out.'”

New Edition was inducted into the NAACP Image Awards Hall of Fame. The induction is bestowed on individuals who are viewed as pioneers in their respective fields and whose influence shaped their profession.

“We stand here in brotherhood,” said Michael Bivins while his group members behind him. The Grammy-nominated group includes Bobby Brown, Johnny Gill, Ralph Tresvant, Ronnie DeVoe and Ricky Bell.

“You’ve seen our story. You know what we’ve been through,” said Bivins, who spoke about the group overcoming conflict and tension in their earlier years to now holding a residency in Las Vegas.

“But we call each other every day,” he continued. “We text each other every day. We check on our families. You watched us grow up. We’re still growing.”

Damson Idris won best actor in a drama television series for his role in “Snowfall.” Henson and Domingo took home best supporting roles in “The Color Purple.” Domingo also won best actor in a motion picture for his role in “Rustin.”

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By Alexis Taylor
AFRO Managing Editor

Members of Black Press gathered inside of the National Press Club on March 15 to learn more about the 2024 agenda goals and celebrate Black Press Week.

Hosted by the National Newspaper Publishers Association (NNPA), the event was one of many to celebrate the anniversary of the Black Press, which turned 197 years old on March 16.

In a year with so many key political positions at stake, leaders of NNPA are stressing the importance of reaching Black communities with important election information– a population often targeted with misinformation. 

“We believe that getting out the Black vote is of grave concern and failure to do so will be leaving us in the hands of systemic inequalities that threaten what we believe to be our inalienable rights in the pursuit of life, liberty and justice for all,” said Bobby Henry, NNPA chairman and publisher of the Westside Gazette in Ft. Lauderdale, Fla. 

Congressman James E. Clyburn, the U.S. Representative for South Carolina’s District 6, spoke via video message about the importance of Black newspapers. He touched on the luncheon’s theme: “Getting out the Black Vote in America.”

“In 2024 the role of the Black press will be more important than ever in convincing Black voters of the power of one vote,” said Clyburn. “In a digital age where disinformation spreads rapidly on social media, where many politicians lie with impunity and where technological advancements– like artificial intelligence– make it difficult to discern the truth, it is incumbent on Black journalism to communicate real stories about real people and do so truthfully irrespective of favor or profit lately.” 

Clyburn said using Black publications to reach Black voters is imperative because many crucial historic decisions have been decided by an incredibly small margin. 

“Reconstruction came to an end by one vote: 185 to 184. Jim Crow became the law of the land by one vote: eight  to seven,” said Clyburn. “We must ask the Black community: ‘Are you going to be that one vote that brings in what everybody has been traditionally calling ‘the second Reconstruction?’” 

“If we want to galvanize the Black community this election year, we must make them aware of the possible consequences and that means communicating authentic stories about what has happened, what is happening and what is likely to happen,” he continued.

Clyburn said members of the press must ask themselves if they would like to make a “headline or headway?”

“If we want to keep our democracy, we must make headway on informing the American people,” he said. 

Throughout the event, speakers honed in on the fact that since its inception, the Black Press has long kept the Black community informed and abreast of issues that impact their daily lives and inequalities that need to be addressed. 

The first Black Newspaper was released March 16, 1827 by Samuel Eli Cornish and John Brown Russwurm in New York City. Titled “Freedom’s Journal,” the men made clear why they created the publication in the very first issue, writing: 

“We wish to plead our own cause. Too long have others spoken for us. Too long has the publick been deceived by misrepresentations in things which concern us dearly….”

Still today, 197 years later, members of the Black Press are “pleading their own cause.”

NNPA President and CEO, Dr. Benjamin Chavis, spoke to the publishers, editors, writers and sponsors gathered, imploring them to push forward the Black Press mission of keeping the Black community informed and pushing for progress and true equality. 

“When John Russwurm and Samuel Cornish stated on the front page of the first edition of Freedom’s Journal that ‘we must plead our own cause’ this was more than just an editorial comment. It was a call to action,” said Chavis. “That was a bold statement of intentionality. That was a statement that understood the importance of not– in life– striving to get along just to get along with oppression, slavery and the other denial of the humanity of African people that was used to justify the transatlantic slave trade,” said Chavis. 

After speaking about the legacies of great, Black publishers who dared to start Black publications during an era in a country prone to lynchings, Chavis spoke directly to the new generation of Black Press. 

“We all stand on the shoulders of brothers and sisters who stood up who spoke out –never bowing down to the evil of the world,” he said. “There’s no question about what our posture should be in 2024 and thus, today, we ask ourselves in 2024: What is our cause?” 

“Is it to appease the great-great grandchildren of those who committed Global genocide and exploitation of African people for 500 years– what is our cause today? As we face another existential threat to our very presence and existence in America and throughout the African world– what is our cause?” quipped Chavis. “Our cause is to publish and speak truth to power. Our cause is to wake our people up and to keep our families and communities awakened to the truth and to our collective responsibilities and obligations to continue to fight for freedom, justice, equality and equity.”

Chavis said that in 2024, “the Black Press serves today the majority of 50 million African Americans who live, reside and strive every day to make ends meet.” What started as a small publication in 1827 has now inspired roughly 250 Black papers into existence.

“The Black Press today continues the legacy, cause and purpose as first published by Russwurm and Cornish, 197 years ago,” said Chavis. “The Black Press is resilient and more determined than ever before to speak out, stand up and push forward to achieve excellence and progress. The Black Press today represents the best of America and its future.”

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By Catherine Pugh

Special to the AFRO

Pamela Renee Leak, known on stage as comedian Ms. Maybelle, as a philanthropist and a community activist, died February 29, bringing tears to many in Baltimore and beyond. 

Leak, known as a philanthropist and community activist, died the evening February 29, bringing tears to many in the Baltimore and beyond. News of the death sent shock waves among those who are familiar and supportive of her comedy as well as her philanthropy.

Leak, or Ms. Maybelle, as she was known and liked to be called, was born Aug. 19, 1967, to Vivian Thornton and Larry Leak.  Both her parents preceded her in death.  

Ms. Maybelle suffered a massive heart attack and an aneurysm, leading to her death.  

“It was unbelievable,”  said her Aunt Sheila Smith, “and totally unexpected.”

Smith and most of Ms. Maybelle’s immediate family, including her three sons Antwon, Shawn and Nicholas, and her only sibling, Shelly Wallace, surrounded her bedside in disbelief at what they were experiencing. 

“She was preparing for her Friday night comedy appearance and a calendar full of activities, which included the 20^th Anniversary Big Girl Fashion Show with Travis Winkey,” said Smith. “Two years ago, she had a minor stroke, but had come back strong.  She returned to radio six months ago, and was incredibly happy,” she said.

Ms. Maybelle has appeared on both the David Letterman and Steve Harvey Show. For 27 years she has entertained audiences throughout the country, but concentrated her talent in Baltimore–her beloved hometown where she was born and lived. She debuted her One woman show at Baltimore’s Arena Playhouse last May.

“She once worked in the Clerk of the Court’s Office, Frank Conaway Sr., but as long as I remember Pamela, wanted to be a comedian.  She was the one that made us all laugh.  She was doing exactly what she wanted to do and has been doing it for almost 30 years,” Smith.

Larry Young, former state senator and president of the National Action

Network was among her most ardent fans.

“I met her over 20 years ago. I invited her to appear on The Larry Young Morning Show back in 2007.  She was such a hit,” Young recalls. “Three years later she was hosting her own show on WOLB.  I named her Ms. Maybelle because she told me she was such a big fan of Moms Mabley and wanted to honor her style of comedy.”

This past September, the 2600 block of Robb street was renamed after Ms. Maybelle. “It is where I was raised by my father and have done food giveaways and donated to the school and recreation center in the area,” she told the media.

Two weeks ago, Ms. Maybelle was a recipient of one of the National Action Network Community Honor Roll Awards, hosted by AFRO Managing Editor, Alexis Taylor.  

“I was the last one to give her a well-deserved honor.  There were 14 of those awards given, but she was the only one who got a standing ovation,” said Young, of the audience’s reaction to Leak’s award.

Leak was well known in the community for feeding those in need and giving back however she could. 

“I’ve been hungry,” Ms. Maybelle was once quoted saying, which led to her hosting her food and clothing giveaways.  

Her presence in the community will surely be missed.

“She never minded sharing what she had,” said Lena Redmond, a family friend.  “She was such a good mother.  Whatever her family needed within her power she gave. She was especially attentive to her youngest son, Nichols,18, who faces health challenges.  Her older sons, Antwan and Shawn helped her take care of him, ” said Smith.  

Young agreed. “She was a great mother. “We will continue the Arena Playhouse Annual Thanksgiving food give-away in her honor. I return to WOLB radio at 4 p.m. and I will dedicate my next few shows and my Wednesday 10 a.m. podcast to Ms. Maybelle. I know people in Baltimore want to vent and share their pain, sympathy and well wishes to her family.”

Pamela Leak, is survived by aunts Sheila Smith, Bessie Gross and Joyce Culbreth; three sons, Antwan Spencer, Shawn Carter, Nicholas King; and a host of other family members and friends. 

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By Special Release

Soul singer, songwriter and producer Devon Howard is finally delivering his highly anticipated full-length album, titled “Morning Son.”

The release follows the success of the leading single “Forever and Always,” which was followed up by the single, “Your Love Is.” Both songs reached number one on the Indie Soul Charts in the United States and the United Kingdom, with the third single “Wherever You Are” released in 2023, peaking at number four in the U.S. for Indie R&B. 

The former member of the 90’s RCA Records R&B boy band, Me 2 U, is back with another amazing solo project.  Performing alongside artists like SWV, Mario, Stephanie Mills and the legendary Dionne Warwick, Howard has taken note from these greats, creating an identifiable sound all his own.    

Loaded with good vibes and smooth vocals, this project, the follow up to Howard’s “Return to Love” (2015), continues with timeless stories of love over classic mid-tempo grooves.  

Starting with the steppers remix version of “Forever and Always,” each song flows seamlessly into the next locking into a steady groove, setting the tone for the album.  Five songs in, Howard slows it down with the sensual and sexy “You Know (I Want You)” and “Holding On.”  The fourth single “Oh Love” gets us back in the groove with this bouncy ode to love.  The feelgood vibe continues with “I Promise” and “Moving On,” ending with two bonus remixes by Debonair Samir.     

As a creative artist, Howard understands how important photos and music videos are when adding a visual layer to an artists’ career.  Having worked with legendary photographer Timothy White and famed director Chris Robinson in the past, for this project he teamed up with the incredibly talented movie and video director, Alvin Gray, creating stunning videos for the first three singles from Morning Son.  Also, working with photographers Roy Cox, Lolita Brailey and Al Owen to create dynamic, artistic photographs.      

As an Indie artist, Howard continues to push beyond the current commercial norms, bridging the gap between the old and the new.  The upbeat soulful sounds of the 90’s layered over modern music tracks makes ‘Morning Son’ feel fresh and edgy.  Just in time for the spring, this project is a vibe from start to finish.  

Howard’s album was released on all digital platforms March 5. 

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By Ericka Alston Buck,
Special to the AFRO

In the heart of Annapolis, Md., nestled at 84 Franklin Street, lies the Banneker-Douglass Museum, a beacon of African-American history and culture. Stepping through its doors, visitors embark on a journey through time, a journey that is both reflective and forward-thinking. 

Now, with 2024 marking the 60th anniversary of the signing of the Civil Rights Act of 1964, the museum proudly presents “REVISIT/REIMAGINE: The Civil Rights Era in Maryland and Parallels of Today” — a poignant exhibition that pays homage to the legacies of civil rights leaders while shedding light on contemporary issues that continue to shape our society.

Curated by creative visionary Thomas James, “REVISIT/REIMAGINE” is not merely an exhibition; it is a testament to resilience, activism and the enduring spirit of progress. At its core, the exhibit aims to bridge the gap between past and present, inviting visitors to reflect on the strides made since the Civil Rights Movement, while acknowledging the work that remains.

Upon entering the exhibition space, visitors are greeted by a curated collection of images showcasing nationally and locally recognized civil rights leaders, sourced from the archives of the AFRO-American Newspapers. These striking visuals serve as a powerful reminder of the individuals who paved the way for change and justice. Savannah Wood, executive director of Afro Charities and moderator of the panel discussion, provided insight into the exhibition’s composition.

“When people come, they can expect to see contemporary artwork by Maryland artists,” said Wood, adding that an array of creatives were included in the exhibition, curated by James. 

According to Wood, the installation also included “a selection of images from the archives that Thomas selected during extensive research in partnership with Afro Charities.”

The lineup of exhibiting artists reads like a who’s who of creative talent, with each bringing their unique perspective to the dialogue. 

Murjoni Merriweather, one of the featured artists, shared her vision for the exhibition. 

“For me, what I want people to take away from this experience is the self-love of Black people. I want us to be proud of where we came from, know the history, and also see the creators now making works that talk about us being proud of ourselves,” she said. 

The pieces, ranging from paintings to sculptures, from mixed media to digital art, serve as a mirror reflecting the issues of Black people through the Civil Rights Movement and the equal rights initiatives that followed. From education inequities to race-based violence, from disability justice to technological surveillance— each artwork ignites conversations and challenges perceptions.

In a nod to intergenerational relationships, the exhibition space is designed to evoke the familiarity of a home, complete with books, records and other objects scattered throughout. 

James explained the intention behind this setup. 

“This show is set up to encourage or enact a feeling of home—a feeling of warmth—and really leveling with folks that have done extraordinary things…[they] are just like you. They come home every day to the life that they live, and you can do the same thing in your own way.”

The opening reception, held on Feb. 24th, was a celebration of art, activism and community. Guests had the opportunity to engage with the artwork, to immerse themselves in the narratives woven throughout the exhibition. Following the reception, a panel discussion titled “Exhibition Talkback” provided a platform for dialogue, featuring James, Banneker-Douglass Museum’s executive director Chanel C. Johnson, and Wood. 

As “REVISIT/REIMAGINE” continues its run until Jan. 4, 2025, it serves as a poignant reminder of the progress made since the Civil Rights Era and the work that lies ahead. 

The exhibit is a testament to the power of art in sparking change, in amplifying voices, and in uniting communities. And above all, it is a call to action— urging each of us to play a role in shaping a more just and equitable future.

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By Ericka Alston Buck,
Special to The AFRO

In a vibrant celebration of African-American culture and storytelling, the Waxter Center in Baltimore recently hosted an event to honor griot Edna Lawrence-Williams for her outstanding achievement in the art of storytelling. 

Affectionately known as Grandmother Edna, Lawrence-Williams was awarded the prestigious Chesapeake Associated Press Broadcasters Association First Place Award for Outstanding Use of Sound for her work on “The Griot” at WEAA 88.9 FM located at Morgan State University.

The event, held at the Waxter Senior Center on Cathedral Street, was a joyous occasion filled with music, storytelling, drumming and community fellowship. Lawrence-Williams, along with fellow Black storytellers, came together to celebrate the rich heritage of griot storytelling and pay homage to the legacy of “Mother Griot,” Mary Carter Smith.

Smith, a beloved figure in the African-American community, was renowned for her dedication to preserving and sharing the oral traditions of African-American culture. As a griot, she served as a keeper of history, passing down stories from generation to generation and ensuring that the voices of her ancestors were heard and honored.

Lawrence-Williams said the importance of griot storytelling cannot be overstated. “It is a tradition that dates back centuries in African cultures, where griots played a vital role in preserving the collective memory of their communities.” 

She added, “Through storytelling, griots imparted wisdom, shared values and preserved cultural heritage, creating a sense of continuity and connection across generations.”

At the celebration, attendees were treated to an array of storytelling performances, drumming, and a light lunch of assorted sandwiches, fruits and cheese. Representatives from organizations such as the National Association of Black Storytellers and the Black Storytellers of Western Maryland were present, highlighting the widespread impact of griot storytelling across the country.

In her remarks at the event, Lawrence-Williams emphasized the importance of the griot tradition in sustaining thriving communities. “Without a griot, a storyteller, our communities will not thrive,” she said, echoing the sentiments of generations of griots who have passed down their knowledge and wisdom through the art of storytelling.

As the griot tradition continues to evolve and adapt in the modern world, Lawrence-Williams said “events like these serve as vital reminders of its enduring significance.” 

The post Honoring the legacy of griot ‘Grandmother’ Edna Lawrence-Williams: A celebration of storytelling and sound appeared first on AFRO American Newspapers.

By Layla Eason,
Special to the AFRO

D.C. Fashion Week (DCFW)  returned for the 20th year during Autumn/Winter fashion season where many emerging designers presented their newest lines. The events were held from Feb. 23-25 in various locations throughout D.C. during the three days of programming. 

Over the years, DCFW has created a platform that focuses on international designs that display diversity throughout the fashion industry that many have never seen before. Displaying artists and brands include Dijré’Ma, Enku Design, FIATI, Papino Creations and many more. 

“This is honestly such a positive moment for D.C. and it always brings a togetherness within the community. There are so many new people to see” said Maleah Johnson, a Saint Yves employee who plans on attending all DCFW events. 

The first event was the Fashion Industry Networking Party, held on February 23rd at 1220 Connecticut Ave NW Washington, D.C. 

The event was a place for people who are trying to break into the fashion world to show their face and make connections with other people within the industry. During this event, people networked amongst bloggers, journalists, designers, photographers, modeling agents, buyers and content creators. 

The Emerging Designers Showcase was the second event of DCFW, as it displayed new designers, their collections and even some emerging performing artists who are just breaking into the music industry. 

“This is one of the most anticipated events in D.C. You see so many people making connections and learning from each other. I think it really just helps people to grow their brands no matter what they do. We should all be very excited for what’s to come,” said Johnson.

The showcase was held on the 24th at the National Housing Center, 120115th Street, NW, Washington, D.C. During this event, new designers from all around the United States showcased their newest designs and collections together. 

The final showcase was the 40th International Couture Collections Show, also held at the National Housing Center. 

During the first portion of the showcase, the Washington Menswear Capsule Collection, presented by Andrew Nowell Menswear, offered views of a modern urban sportswear line that is a from a native of the D.C., Maryland and Virginia areas. 

All three days of fashion and fun successfully proved that D.C. can and will continue to be as iconic as other fashion capitals around the world.

The post AFRO inside look: D.C. Fashion Week 2024 appeared first on AFRO American Newspapers.

By Michayla Maxwell,
Special to the AFRO

Just weeks into the new year, the Anacostia Community Museum is ready to celebrate the opening of its new 2024 exhibition. 

The Anacostia Community Museum will be opening “A Bold and Beautiful Vision: A Century of Black Arts Education in Washington D.C.,1900-2000” on March 23. This exhibit will run through the spring of 2025 and celebrates some of Washington, D.C.’s most gifted artists. 

Samir Meghelli is the curator of “A Bold and Beautiful Vision” and hopes to tell the story of the teachers and students who made Washington, D.C., a genuinely unparalleled center for Black arts education. He was able to feature both known and not so well known artists including Elizabeth Catlett, Alma Thomas, James A. Porter, Loïs Mailou Jones, David Driskell, Hilda Wilkinson Brown, Sam Gilliam, Thomas Hunster and Georgette Seabrooke Powell.

“Rarely has it been acknowledged that some of the twentieth century’s most gifted artists taught and were educated in Washington, D.C. schools. The city is home to a long line of African American artist-educators who dedicated their lives to inspiring a love of the arts in young people despite the challenges of a longtime segregated, underfunded education system,” Meghelli said. 

Meghelli sees this year’s exhibit as an opportunity to share “rich history” and “international mentorship” with the rest of the D.C. community. The exhibit will include a wide array of arts and artifacts that can showcase the “little-known, but rich history” of black artist educators. 

Included in the showcase are original prints from Elizabeth Catlett’s first-ever solo exhibit which was previously at D.C.’s own Barnett-Aden Gallery, one of the first Black-owned commercial art galleries in the nation. They were a fixture for many years at her alma mater, D.C.’s Dunbar High School. The exhibit will also include a painting Sam Gilliam made while he was a teacher at McKinley Tech High School in the 1960s, a marionette that William Buckner made with his Armstrong High School students in the late 1930s, and silkscreen concert posters that Lou Stovall and Lloyd McNeill made in the late 1960s for the Adams Morgan-based youth arts organization.

Due to so much artistic history in D.C., one of the biggest challenges Meghelli faced was choosing what pieces to include. 

“The exhibition covers over a century of history and the stories of inimitable artists and educational institutions. Knowing we have the limitations of time and space, we hope that this exhibition will open up space for more and future exhibitions that explore the topics and which can include the work and stories of even more artists,” Meghelli said.

“We began conceptualizing the exhibition by diving into our museum’s archives and art collection, which contain incredible stories of local Black Washington arts communities dating back to our museum’s founding in 1967 and even much further back than that,” he said.

“Inspired by the deeply-rooted and intergenerational relationships among artist educators and their students over so many years, we set out to begin telling the story of that lineage—almost a family tree, in a way—of Washington’s African American art teachers and their influence across the generations.” 

Meghelli was able to break down the exhibition into four major sections, which include different hands-on art activities, artwork, artifacts, photographs and videos to create the theme throughout the exhibit. 

The exhibition starts by tracing the rise of art education in Washington’s segregated public school system in the late 19th and early 20th century and the pioneering work of educators at the city’s first two high schools for Black students: M Street High School (later known as Dunbar High) and Armstrong Manual Training School. 

 Next comes the work reflecting Howard University’s Art Department and its faculty and distinguished alumni. 

The third section examines the impact of school desegregation and the rise of Black power on arts education in Washington. 

The final section features the story of Duke Ellington School of the Arts, which Peggy Cooper Cafritz and Mike Malone began as a small program called Workshops for Careers in the Arts in the late 1960s but which has grown into a prestigious pre-professional arts school that has now graduated generations of talented artists of all disciplines. 

“The exhibition includes prints, objects and art materials used by artists and teachers throughout this period,” said Shanita Brackett, acting director of the museum. Once an object that intrigues me demonstrates the lineage and connection between art teachers and students, it’s presented as a lineage or bubble map.”

She believes once someone can understand “the impact of each teacher and the artists they taught, as well as the collaboration between those artists, their genres and art forms, and their geographic base and work, then they can discover a rich history of reach and influence.”

The Anacostia Community Museum is the first federally funded community museum in the nation, United States. Brackett said she hopes, “visitors will leave the exhibition with a new appreciation for black arts education, and generations of artists, educational institutions, and communities will look back and appreciate the profound specialties and skills shared with so many others on various platforms.”

Brackett said community programming is crucial.  

“We will host various community-based and family-friendly programs,” she said, “including Earth Day on April 20, which will also be the launch of our Farm Stand for the season, and Juneteenth on June 19, which will showcase local artists and musicians.” 

The post Anacostia Community Museum prepares to unveil ‘A Bold and Beautiful Vision’ appeared first on AFRO American Newspapers.

By Special to the AFRO

“From Addiction to Deliverance,” a highly acclaimed stage play by Ursula Battle, returns to Baltimore for encore performances on Feb. 24. The show will begin promptl at 1 p.m. at the Sollers Point Multipurpose center, located at 323 Sollers Point Road in Dundalk, Md. 

Ursula Battle, a journalist and playwright for over 20 years says, “this play is a must see.”  

The stop in Dundalk is only a small piece of the 2023-2024 tour that has been wowing audiences across the country.  

“Everyone knows someone who is suffering or has suffered from some form of addiction,” Battle told the AFRO.  

The play’s storyline focuses on the lives of six individuals– males and females– who are three months into their recovery journeys after suffering from various addictions.

According to the Association of  American Medical Colleges 21 million Americans suffer from addiction and one and five don’t know where to go for help. 

Dr. Gregory Branch, who directs the play, asked Battle to write “From Addiction to Deliverance.”  Branch is the director and health officer for the Baltimore County Department of Health and Human Services, and has been in public health for 20 years.  

“It was my love for theater, a desire to put a human face on addiction the problems our communities are experiencing that encouraged me to ask her,” Branch said.  “This production helps remove the stigma surrounding addiction.  It gives people a view into the life of an addict and how one can move from addiction to recovery. It is a difficult road.  It helps the audience to see addiction as the disease it is,” Branch told the AFRO.

“I’ve been approached by people who experienced this production asking for help for the disease or for someone they know suffering addiction, “says Battle.  “We knew  we were onto something when hosting open auditions. Dr. Branch and I encountered a woman on the street overdosing and he immediately went to his car, grabbed some Narcan and helped save her life. To me, that was a sign that this play was something we needed to do,” said Battle.  

According to both Battle and Branch, “From Addiction to Deliverance” is not just entertaining–it is informative, educational  and transformative. 

“It is not just about addiction, but forgiveness and the situations addicts encounter along their journey to recovery,” said Battle.

“From Addiction to Deliverance” is also a testament to the talent in the Baltimore area– from teenagers to seniors. The singing, dancing, laughing, crying and portrayal of their characters is riveting,” said Battle.

“From Addiction to Deliverance” is rated PG-13, due to some strong content and profanity. 

For more information or to purchase tickets call 443-531-4787 or 443-531-5830.  You can also visit www.battlestageplays.com.

The post Ursula V. Battle gives hope with stage play, ‘From Addiction to Deliverance’ appeared first on AFRO American Newspapers.

The winners will be revealed during the two–hour LIVE TV special, airing Saturday, March 16, 2024 at 8:00 PM ET/ PT on BET and CBS.

(NNPA Newswire) – The NAACP recently unveiled the full list of “55th NAACP Image Awards” nominees with Netflix and Amazon leading the pack with 55 and 27 nominations, respectively. The winners will be revealed during the two–hour LIVE TV special, airing Saturday, March 16, 2024 at 8:00 PM ET/ PT on BET and CBS

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Colman Domingo leads the nominations across the motion picture categories with three nominations. Ayo Edebiri received the most nominations in the television and streaming categories with two for “Abbott Elementary” and “The Bear.” Victoria Monét and Usher received the most nominations in the music recording categories, earning six and five nods, respectively. RCA Records received an impressive 20 nominations, the most across record labels. HarperCollins Publisher and Penguin Random House lead nominations across literary categories seven and four nods, respectively.

“We are thrilled to celebrate the achievements of this year’s nominees, whose outstanding contributions across film, television and streaming, music, literature, podcasts, and more have inspired us all,” said Derrick Johnson, president and CEO of the NAACP. “The NAACP Image Awards stand as a tribute to their creativity, talent, and dedication to authentic storytelling and are a testament to the richness and diversity of our community.”

“As we reflect on the rich legacy of the NAACP, we take pride in honoring the artistic brilliance of this year’s nominees. We are excited to illuminate and celebrate the extraordinary talent within our community,” said Scott Mills, president and CEO, BET Media Group

By visiting www.naacpimageawards.net, the public can vote to determine the winners of the “55th NAACP Image Awards” in select categories. Voting closes February 24 at 9 p.m. Winners will be revealed during the “55th NAACP Image Awards” telecast on March 16, 2024, on BET and CBS. NAACP will also recognize winners in non-televised Image Awards categories March 11–14, which will stream via naacpimageawards.net. For information and updates, please follow NAACP Image Awards on Instagram @NAACPImageAwards.

The “55th NAACP Image Awards” is proudly presented by this year’s incredible partners and sponsors. We extend our thanks for their invaluable support and commitment to promoting excellence in the Black community.

Media interested in interviews and covering the “55th NAACP Image Awards,” can complete the following application: https://betnaacpimageawards2024.pvitl.com/registration/media_form. For any additional media questions, please email ImageAwardsCredentials@ssmandl.com or BETPressinfo@bet.net. Please note: the deadline to apply for media opportunities is February 29 at 9 PM ET/ 6 PM PT.

Globally recognized as one of the most distinguished multicultural awards shows, the “55th NAACP Image Awards” will continue a tradition of excellence, uplifting values that inspire equality, justice, and progressive change, and highlighting artists committed to that purpose.

One of the most iconic annual celebrations of Black excellence, the NAACP Image Awards draws the biggest and brightest stars in Hollywood. Previous years’ attendees and winners include Angela Bassett, Will Smith, Viola Davis, Beyoncé, Nicco Annan, Ruth E. Carter, Glynn Turman, Quinta Brunson, Nia Long, Keith David, Jennifer Hudson, Stacey Abrams, Tabitha Brown, Dwayne Wade & Gabrielle Union, Tems, Erica Campbell, Chris Brown, Bruno Mars Anderson. Paak Silk Sonic, Rihanna, Quavo, Takeoff, Sheryl Lee Ralph, Zendaya, Yara Shahidi, Issa Rae, Janelle Monáe, Tracee Ellis Ross, Serena Williams, Kerry Washington, Method Man, Dominique Thorne, Austin Scott, Tyler James Williams, Kyla Pratt, Jabari Banks, and many more.

Instagram: @naacpimageawards |Twitter: @naacpimageaward | Facebook: /naacpimageaward. The full list of nominees can be found below:

ENTERTAINER OF THE YEAR NOMINEES

• Colman Domingo
• Fantasia Barrino
• Halle Bailey
• Keke Palmer
• Usher

MOTION PICTURE CATEGORIES

Outstanding Motion Picture

• “American Fiction” (Orion Pictures / Amazon MGM Studios)
• “Origin” (NEON)
• “Rustin” (Netflix)
• “The Color Purple” (Warner Bros. Pictures)
• “They Cloned Tyrone” (Netflix)

Outstanding Actor in a Motion Picture

• Colman Domingo – “Rustin” (Netflix)
• Denzel Washington – “The Equalizer 3” (Sony Pictures Releasing)
• Jamie Foxx – “The Burial” (Amazon MGM Studios)
• Jeffrey Wright – “American Fiction” (Orion Pictures / Amazon MGM Studios)
• John Boyega – “They Cloned Tyrone” (Netflix)

Outstanding Actress in a Motion Picture

• Aunjanue Ellis–Taylor – “Origin” (NEON)
• Fantasia Barrino – “The Color Purple” (Warner Bros. Pictures)
• Halle Bailey – “The Little Mermaid” (Walt Disney Pictures)
• Teyana Taylor – “A Thousand And One” (Focus Features)
• Yara Shahidi – “Sitting in Bars with Cake” (Amazon MGM Studios)

Outstanding Supporting Actor in a Motion Picture

• Colman Domingo – “The Color Purple” (Warner Bros. Pictures)
• Corey Hawkins – “The Color Purple” (Warner Bros. Pictures)
• Glynn Turman – “Rustin” (Netflix)
• Jamie Foxx – “They Cloned Tyrone” (Netflix)
• Sterling K. Brown – “American Fiction” (Orion Pictures / Amazon MGM Studios)

Outstanding Supporting Actress in a Motion Picture

• Danielle Brooks – “The Color Purple” (Warner Bros. Pictures)
• Da’Vine Joy Randolph – “The Holdovers” (Focus Features)
• Erika Alexander – “American Fiction” (Orion Pictures / Amazon MGM Studios)
• Halle Bailey – “The Color Purple” (Warner Bros. Pictures)
• Taraji P. Henson – “The Color Purple” (Warner Bros. Pictures)

Outstanding Independent Motion Picture

• “Back on the Strip” (GVN Releasing LLC)
• “Brother” (Vertical Entertainment)
• “Story Ave” (Kino Lorber)
• “Sweetwater” (Briarcliff Entertainment/Universal)
• “The Angry Black Girl and Her Monster” (RLJE Films)

Outstanding International Motion Picture

• “Anatomy of a Fall” (NEON)
• “Brother” (Vertical Entertainment)
• “Mami Wata” (Dekanalog)
• “Rye Lane” (Searchlight Pictures)
• “Society of the Snow” (Netflix)

Outstanding Breakthrough Performance in a Motion Picture

• Aaron Pierre – “Brother” (Vertical Entertainment)
• Laya DeLeon Hayes – “The Angry Black Girl and Her Monster” (RLJE Films)
• Mila Davis–Kent – “Creed III” (Amazon MGM Studios)
• Phylicia Pearl Mpasi – “The Color Purple” (Warner Bros. Pictures)
• Teyana Taylor – “A Thousand And One” (Focus Features)

Outstanding Ensemble Cast in a Motion Picture

• “American Fiction” (Orion Pictures / Amazon MGM Studios)
• “Rustin” (Netflix)
• “The Blackening” (Lionsgate and MRC)
• “The Color Purple” (Warner Bros. Pictures)
• “They Cloned Tyrone” (Netflix)

Outstanding Animated Motion Picture

• “Elemental” (Pixar Animation Studios)
• “Lil’ Ruby”
• “Spider-Man: Across the Spider-Verse” (Sony Pictures Releasing)
• “Teenage Mutant Ninja Turtles: Mutant Mayhem” (Paramount Pictures)
• “Wish” (Walt Disney Animation Studios)

Outstanding Character Voice-Over Performance – Motion Picture

• Ariana DeBose – “Wish” (Walt Disney Animation Studios)
• Brian Tyree Henry – “Spider-Man: Across the Spider-Verse” (Sony Pictures Releasing)
• Daniel Kaluuya – “Spider-Man: Across the Spider-Verse” (Sony Pictures Releasing)
• Issa Rae – “Spider-Man: Across the Spider-Verse”(Sony Pictures Releasing)
• Shameik Moore – “Spider-Man: Across the Spider-Verse” (Sony Pictures Releasing)

Outstanding Short-Form (Live Action)

• “Flower” (Life in Motion/Funbomb)
• “Gaps” (Tribeca Studios)
• “Lucille” (QTGEEK)
• “Rocky Road on Channel Three” (Indeed)
• “The After” (Netflix)

Outstanding Short–Form (Animated)

• “Blueberry” (Ace Animation Studios)
• “Bridges” (OHR Media)
• “Burning Rubber” (Reel Black Studios)
• “Ego’ Curse” (Exhibit Treal Studios)
• “Lil’ Ruby” (Platige)

Outstanding Breakthrough Creative (Motion Picture)

• V. Rockwell – “A Thousand and One” (Focus Features)
• Blitz Bazawule – “The Color Purple” (Warner Bros. Pictures)
• Choice Skinner – “A New Life” (Buffalo 8)
• Dewayne Perkins – “The Blackening” (Lionsgate and MRC)
• Juel Taylor – “They Cloned Tyrone” (Netflix)

Outstanding Youth Performance in a Motion Picture

• Aaron Kingsley Adetola – “A Thousand And One” (Focus Features)
• Aven Courtnery – “A Thousand And One” (Focus Features)
• Calah Lane – “Wonka” (Warner Bros. Pictures)
• Lennox Simms – “Origin” (NEON)
• Mila Davis–Kent – “Creed III” (Amazon MGM Studios)

Outstanding Cinematography in a Feature Film

• Kim Miles, Julia Liu, Clair Popkin – “STILL: A Michael J. Fox Movie” (Apple Original Films)
• Eric K. Yue – “A Thousand and One” (Focus Features)
• Guy Godfree – “Brother” (Vertical Entertainment)
• Ken Seng – “They Cloned Tyrone” (Netflix)
• Paul Yee – “Joy Ride” (Lionsgate)

TELEVISION + STREAMING CATEGORIES

Outstanding Comedy Series

• “Abbott Elementary” (ABC)
• “Harlem” (Amazon Prime Video)
• “Survival of the Thickest” (Netflix)
• “The Neighborhood” (CBS)
• “UnPrisoned” (Hulu/Onyx)

Outstanding Actor in a Comedy Series

• Cedric The Entertainer – “The Neighborhood” (CBS)
• Delroy Lindo – “UnPrisoned” (Hulu/Onyx)
• Dulé Hill – ” The Wonder Years” (ABC)
• Mike Epps – “The Upshaws” (Netflix)
• Tone Bell – “Survival of the Thickest” (Netflix)

Outstanding Actress in a Comedy Series

• Kerry Washington – “UnPrisoned” (Hulu/Onyx)
• Meagan Good – “Harlem” (Amazon Prime Video)
• Michelle Buteau – “Survival of the Thickest” (Netflix)
• Quinta Brunson – “Abbott Elementary” (ABC)
• Tichina Arnold – “The Neighborhood” (CBS)

Outstanding Supporting Actor in a Comedy Series

• Kenan Thompson – “Saturday Night Live” (NBC)
• Roy Wood Jr. – “The Daily Show” (Comedy Central)
• Tyler Lepley – “Harlem” (Amazon Prime Video)
• Tyler James Williams – “Abbott Elementary” (ABC)
• William Stanford Davis – “Abbott Elementary” (ABC)

Outstanding Supporting Actress in a Comedy Series

• Ayo Edebiri – “The Bear” (FX)
• Ego Nwodim – “Saturday Night Live” (NBC)
• Janelle James – “Abbott Elementary” (ABC)
• Sheryl Lee Ralph – “Abbott Elementary” (ABC)
• Shoniqua Shandai – “Harlem” (Amazon Prime Video)

Outstanding Drama Series

• “Bel-Air” (Peacock)
• “Black Cake” (Hulu)
• “Found” (NBC)
• “Queen Charlotte: A Bridgerton Story” (Netflix)
• “Snowfall” (FX)

Outstanding Actor in a Drama Series

• Damson Idris – “Snowfall” (FX)
• Forest Whitaker – “Godfather of Harlem” (MGM+)
• Idris Elba – “Hijack” (Apple TV+)
• Jabari Banks – “Bel-Air” (Peacock)
• Jesse L. Martin – “The Irrational” (NBC)

Outstanding Actress in a Drama Series

• Angela Bassett – “9–1–1” (FOX)
• India Ria Amarteifio – “Queen Charlotte: A Bridgerton Story” (Netflix)
• Octavia Spencer – “Truth Be Told” (Apple TV+)
• Queen Latifah – “The Equalizer” (CBS)
• Zoe Saldaña – “Special Ops: Lioness” (Paramount+)

Outstanding Supporting Actor in a Drama Series

• Adrian Holmes – “Bel-Air” (Peacock)
• Amin Joseph – “Snowfall” (FX)
• Giancarlo Esposito – “Godfather of Harlem” (MGM+)
• LaRoyce Hawkins – “Chicago PD” (NBC)
• Wendell Pierce – “Tom Clancy’s Jack Ryan” (Amazon Prime Video)

Outstanding Supporting Actress in a Drama Series

• Adjoa Andoh – “Queen Charlotte: A Bridgerton Story” (Netflix)
• Arsema Thomas – “Queen Charlotte: A Bridgerton Story” (Netflix)
• Golda Rosheuvel – “Queen Charlotte: A Bridgerton Story” (Netflix)
• Gail Bean – “Snowfall” (FX)
• Nicole Beharie – “The Morning Show” (Apple TV+)

Outstanding Television Movie, Limited–Series or Dramatic Special

• “Black Girl Missing” (Lifetime)
• “First Lady of BMF: The Tonesa Welch Story” (BET+)
• “Heist 88” (Showtime)
• “Lawmen: Bass Reeves” (Paramount+)
• “Swarm” (Amazon Prime Video)

Outstanding Actor in a Television Movie, Limited-Series or Dramatic Special

• Brian Tyree Henry – “Class of “09” (FX)
• Courtney B. Vance – “Heist 88” (Showtime)
• Keith Powers – “The Perfect Find” (Netflix)
• Lance Reddick – “The Caine Mutiny Court–Martial” (Showtime)
• Samuel L. Jackson – “Secret Invasion” (Disney+)

Outstanding Actress in a Television Movie, Limited-Series or Dramatic Special

• Ali Wong – “Beef” (Netflix)
• Chlöe Bailey – “Praise This” (Peacock)
• Dominique Fishback – “Swarm” (Amazon Prime Video)
• Gabrielle Union – “The Perfect Find” (Netflix)
• Meagan Good – “Buying Back My Daughter” (Lifetime)

Outstanding Supporting Actor in a Television Movie, Limited-Series or Dramatic Special

• Carl Anthony Payne II – “Binged to Death” (MTV)
• Damon Wayans – “Cinnamon” (Tubi)
• Damson Idris – “Swarm” (Amazon Prime Video)
• Don Cheadle – “Secret Invasion” (Disney+)
• Jharrel Jerome – “Full Circle” (HBO | Max)

Outstanding Supporting Actress in a Television Movie, Limited–Series or Dramatic Special

• Aja Naomi King – “Lessons in Chemistry” (Apple TV+)
• CCH Pounder – “Full Circle” (HBO | Max)
• Micheala Jaé Rodriguez – “American Horror Story: Delicate” (FX)
• Phylicia Rashad – “Heaven Down Here” (Hallmark Movies & Mysteries)
• Tisha Campbell – “Every Breath She Takes” (Lifetime)

Outstanding News/Information (Series or Special)

• “20/20 – Kerry Washington: Thicker Than Water – A Conversation with Robin Roberts” (ABC)
• “The 1619 Project” (Hulu)
• “theGrio with Marc Lamont Hill” (theGrio Cable Network)
• “The Reidout” (MSNBC)
• “Into America” (MSNBC)

Outstanding Talk Series

• “Hart to Heart” (Peacock)
• “Sherri” (Syndicated)
• “Tamron “(ABC News/Disney Media Distribution)
• “The Jennifer Hudson Show” (Syndicated)
• “Turning the Tables with Robin Roberts” (Disney+)

Outstanding Reality Program, Reality Competition or Game Show (Series)

• “America’s Got Talent” (NBC)
• “Barbecue Showdown” (Netflix)
• “Celebrity Family Feud” (ABC)
• “Critter Fixers: Country Vets” (Nat Geo WILD)
• “Wild ‘N Out” (VH1)

Outstanding Variety Show (Series or Special)

• “A Black Lady Sketch Show” (HBO | Max)
• “A Grammy Salute to 50 Years of Hip-Hop” (CBS)
• “Chris Rock: Selective Outrage” (Netflix)
• “My Name is Mo’Nique” (Netflix)
• “Wanda Sykes: I’m An Entertainer” (Netflix)

Outstanding Children’s Program

• “Ada Twist, Scientist” (Netflix)
• “Alma’s Way” (PBS Kids)
• “Craig of the Creek” (Cartoon Network)
• “Gracie’s Corner” (YouTube TV)
• “My Dad The Bounty Hunter” (Netflix)

Outstanding Performance by a Youth (Series, Special, Television Movie or Limited–Series)

• Alaya High – “That Girl Lay Lay” (Nickelodeon)
• Elisha “EJ” Williams – “The Wonder Years” (ABC)
• Jalyn Hall – “The Crossover” (Disney+)
• Keivonn Woodard – “The Last of Us” (HBO | Max)
• Leah Sava Jeffries – “Percy Jackson and the Olympians” (Disney+)

Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble

• Bomani Jones – “Game Theory with Bomani Jones” (HBO | Max)
• Joy Reid – “The Reidout” (NBC)
• Sherri Shepherd – “Sherri” (Syndicated)
• Tamron Hall – “Tamron Hall” (ABC News/Disney Media Distribution)
• Whoopi Goldberg, Joy Behar, Sunny Hostin, Sara Haines, Ana Navarro, Alyssa Farah Griffin – “The View” (ABC)

Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble

• Anthony Anderson, Cedric The Entertainer – ” Kings of BBQ” (A&E)
• DC Young Fly – “Celebrity Squares” (VH1)
• Nick Cannon – “The Masked Singer” (FOX)
• RuPaul Charles – “RuPaul’s Drag Race” (MTV)
• Steve Harvey – “Celebrity Family Feud” (ABC)

Outstanding Guest Performance

• Ayo Edebiri – “Abbott Elementary” (ABC)
• Garcelle Beauvais – “Survival of the Thickest” (Netflix)
• Giancarlo Esposito – “The Mandalorian” (Disney+)
• Michael B. Jordan – “Saturday Night Live” (NBC)
• Roy Wood, Jr. – “The Daily Show” (Comedy Central)

Outstanding Animated Series

• “Big Mouth” (Netflix)
• “Gracie’s Corner (YouTube TV)
• “Marvel’s Spidey & His Amazing Friends” (Disney Junior)
• “The Proud Family: Louder and Prouder” (Disney Channel)
• “Young Love” (HBO|Max)

Outstanding Character Voice-Over Performance (Television)

• Cree Summer – “Rugrats” (Paramount+)
• Issa Rae – “Young Love” (HBO|Max)
• Keke Palmer – “The Proud Family: Louder and Prouder” (Disney Channel)
• Kyla Pratt – “The Proud Family: Louder and Prouder” (Disney Channel)
• Scott Mescudi – “Young Love” (HBO|Max)

Outstanding Performance in a Short Form Series

• Jessica Mikayla – Disney Launchpad Season Two (Disney+)
• Kevin Hart – Die Hart 2: Die Harter (Roku)
• Leslie Jones – After the Cut–The Daily Show (Comedy Central)
• Nathaniel Emmanuel – Die Hart 2: Die Harter (Roku)
• Seth Carr – Disney Launchpad Season Two (Disney+)

Outstanding Short Form Series – Comedy or Drama

• “After the Cut” (Comedy Central)
• “Die Hart 2: Die Harter” (Roku)
• “Disney Launchpad Season two” (Disney+)
• “Doggyland” (YouTube)
• “I Am Groot” (Disney+)

Outstanding Short Form Series or Special – Reality/Nonfiction

• “Did You Know?” (theGrio Cable Network)
• “I Was A Soul Train Dancer” (BET)
• “Mama Mann’s Kitchen” (YouTube TV)
• “Ritual” (PBS)
• “RuPaul’s Drag Race” (MTV)

Outstanding Breakthrough Creative (Television)

• Adjani Salmon – “Dreaming Whilst Black” (Showtime)
• Kale Futterman – “Ginny & Georgia” (Netflix)
• Michelle Buteau – “Survival of the Thickest” (Netflix)
• Thara Popoola – “Sex Education” (Netflix)
• Troy Hunter – “Sex Education” (Netflix)

RECORDING CATEGORIES

Outstanding New Artist

• FLO (Uptown Records / Republic Records)
• Jordan Ward (Artium/Interscope Records)
• Leon Thomas (EZMNY Records/Motown Records)
• October London (Death Row Records)
• Victoria Monét (RCA Records/Lovett Music)

Outstanding Male Artist

• Burna Boy (Atlantic Records)
• Chris Brown (RCA Records/Chris Brown Entertainment)
• Davido (RCA Records/Sony Music UK)
• Jon Batiste (Verve Records)
• Usher (Mega/Gamma)

Outstanding Female Artist

• Ari Lennox (Dreamville/Interscope Records)
• E.R. (RCA Records)
• Janelle Monáe (Atlantic Records/Bad Boy/Wondaland)
• Tems (RCA Records/Since ’93)
• Victoria Monét (RCA Records/Lovett Music)

Outstanding Gospel/Christian Album

• “All Yours” – Kierra Sheard (RCA Inspiration / Karew Entertainment)
• “Father’s Day” – Kirk Franklin (Fo Yo Soul Recordings and RCA Records)
• “Impossible” – Pastor Mike, Jr. (Rock City/Black Smoke)
• “My Truth” – Jonathan McReynolds (MNRK Music Group)
• “The Maverick Way Complete” – Maverick City Music (Insignia & TRIBL Records)

Outstanding International Song

• “Amapiano” – Asake feat. Olamide (YBNL Nation / EMPIRE)
• “City Boys” – Burna Boy (Atlantic Records)
• “Me & U” – Tems (RCA Records/Since ’93)
• “People” – Libianca feat. Ayra Starr & Omah Lay (RCA Records/Sony Music UK/5K Records)
• “Unavailable” – Davido (RCA Records/Sony Music UK)

Outstanding Music Video/Visual Album

• “Boyfriend” – Usher (Mega/Gamma)
• “Cobra” – Megan Thee Stallion (Hot Girl Productions)
• “How We Roll” – Ciara (Beauty Marks Entertainment)
• “On My Mama” – Victoria Monét (RCA Records/Lovett Music)
• “Sensational” – Chris Brown feat. Davido & Lojay (RCA Records/Chris Brown Entertainment)

Outstanding Album

• “Clear 2: Soft Life” – Summer Walker (LVRN/Interscope Records)
• “For All The Dogs” – Drake (OVO/Republic Records)
• “I Told Them…” – Burna Boy (Atlantic Records)
• “Jaguar II” – Victoria Monét (RCA Records/Lovett Music)
• “The Age of Pleasure” – Janelle Monáe (Atlantic Records/Bad Boy/Wondaland)

Outstanding Soundtrack/Compilation Album

• “Creed III: The Soundtrack” – Michael B. Jordan, Ludwig Göransson, Archie Davis, Frank Brim (Dreamville / Interscope Records)
• “Godfather of Harlem: Season 3 (Original Series Soundtrack)” – Swizz Beatz & Avery Chambliss (Epic Records, a division of Sony Music Entertainment)
• ” Metro Boomin Presents Spider–Man: Across the Spider–Verse (Soundtrack From and Inspired by the Motion Picture/Deluxe Edition)” – Metro Boomin (Republic Records)
• “The Color Purple–Original Motion Picture Soundtrack” – Various Producers (WaterTower Music/Gamma)
• “The Little Mermaid Original Motion Picture Soundtrack – Alan Menken, Mike Higham and Lin–Manuel Miranda (Walt Disney Records)

Outstanding Gospel/Christian Song

• “All Things” – Kirk Franklin (Fo Yo Soul Recordings and RCA Records)
• “All Yours” – Kierra Sheard feat. Anthony Brown (RCA Inspiration / Karew Entertainment)
• “In The Room” – Maverick City Music (TRIBL Records)
• “It’s Working” – Todd Dulaney (DulaneyLand / MNRK)
• “JOY (Unspeakable) – Voices of Fire feat. Pharrell Williams (Columbia Records)

Outstanding Jazz Album

• “Brand New Life“ – Brandee Younger (Impulse! Records)
• “Melusine “ – Cécile McLorin Salvant (Nonesuch Records)
• “Who Are You When No One is Watching?“ – Braxton Cook (Nettwerk Music Group)
• “Phoenix“ – Lakecia Benjamin (Whirlwind Recordings)
• “Truth Be Told“ – Angie Wells (Cafe Pacific Records)

Outstanding Soul/R&B Song

• “Back To Your Place” – October London
• “Good Good” – Usher feat. 21 Savage x Summer Walker
• “ICU Remix” – Coco Jones feat. Justin Timberlake
• “On My Mama” – Victoria Monét
• “Lipstick Lover” – Janelle Monáe

Outstanding Hip Hop/Rap Song

• “All My Life” – Lil Durk feat. J. Cole (Alamo Records)
• “Blue Eyes” – Vic Mensa (Roc Nation Records, LLC)
• “Cobra” – Megan Thee Stallion (Atlantic/Warner Bros/Mattel and 10K Projects/Capitol Records)
• “Palisades, CA” – Larry June & The Alchemist (The Freeminded Records/ALC/EMPIRE)
• “Sittin’ On Top of the World” – Burna Boy & 21 Savage (Atlantic Records)

Outstanding Duo, Group or Collaboration (Traditional)

• Ciara feat. Chris Brown – “How We Roll” (Beauty Marks Entertainment
• Coco Jones feat. Justin Timberlake – “ICU Remix” (Def Jam Recordings)
• Dreamville, Bas & Black Sherif feat. Kel–P – “Creed III: Soundtrack” (Dreamville/Interscope Records)
• Karen Clark Sheard, Hezekiah Walker, Kierra Sheard – “God Is Good” (Timeless Music Group/Roc Nation Records, LLC)
• Voices of Fire – “Joy (Unspeakable)” (Columbia Records)

Outstanding Duo, Group or Collaboration (Contemporary)

• Burna Boy & 21 Savage – “Sittin’ On Top of the World” (Atlantic Records)
• Chris Brown feat. Davido & Lojay – “Sensational” (RCA Records/Chris Brown Entertainment)
• Lil Durk & J. Cole – “All My Life” (Alamo Records)
• Usher, 21 Savage, Summer Walker – “Good Good” (RCA Records/Chris Brown Entertainment)
• Victoria Monét feat. Lucky Day – “Smoke” (RCA Records/Lovett Music)

Outstanding Original Score for TV/Film

• “American Fiction” – Laura Karpman (Orion Pictures/Amazon MGM Studios)
• “Rustin” – Branford Marsalis (Netflix)
• “The Color Purple” – Kris Bowers (Warner Bros. Pictures)
• “The Other Black Girl” – EmmoLei Sankofa (Hulu)
• “Transformers: Rise of the Beasts” – Jongnic Bontemps (Paramount+)

DOCUMENTARY CATEGORIES

Outstanding Documentary (Film)

• “American Symphony” (Netflix)
• “Fast Dreams” (99 Ways Entertainment)
• “Invisible Beauty” (Magnolia Pictures)
• “Little Richard: I Am Everything” (Magnolia Pictures)
• “Stamped from the Beginning” (Netflix)

Outstanding Documentary (Television)

• “American Experience” (PBS)
• “Dear Mama” (FX)
• “High on the Hog: How African American Cuisine Transformed America” (Netflix)
• “Kevin Hart & Chris Rock: Headliners Only” (Netflix)
• “Ladies First: A Story of Women in Hip-Hop” (Netflix)

Outstanding Short Form Documentary

• “Alive in Bronze: Huey P. Newton” (MTV Documentary Films)
• “Birthing a Nation: The Resistance of Mary Gaffney” (MTV Documentary Films)
• “Black Girls Play: The Story of Hand Games” (ESPN)
• “Freshwater” (Hip Hop Caucus Think 100% FILMS)
• “Ifine: Beauty” (Dirt-Stained Roses)

WRITING CATEGORIES

Outstanding Writing in a Comedy Series

• Ava Coleman – “Abbott Elementary” (ABC)
• Brittani Nichols – “Abbott Elementary” (ABC)
• Donald Glover, Janine Nabers – “Swarm” (Amazon Prime Video)
• Michelle Buteau – “Survival of the Thickest” (Netflix)
• Norman Vance, Jr. – “Saturdays” (Disney Channel)

Outstanding Writing in a Drama Series

• Carla Banks–Waddles – “Bel-Air” (Peacock)
• Lee Sung Jin – “BEEF” (Netflix)
• Marissa Jo Cerar – “Black Cake” (Hulu)
• Nkechi Okoro Carroll – “Found” (NBC)
• Shonda Rhimes – “Queen Charlotte: A Bridgerton Story” (Netflix)

Outstanding Writing in a Television Movie or Special

• Dwayne Johnson-Cochran – “Heist 88” (Showtime)
• Frank E. Flowers, Tony Rettenmaier, Juel Taylor – “Shooting Stars” (Peacock)
• Marlon Wayans – “Marlon Wayans: God Loves Me” (HBO | Max)
• Sam Jay – “Sam Jay: Salute Me or Shoot Me” (HBO | Max)
• Tina Gordon, Brandon Broussard, Hudson Obayuwana, Jana Savage, Camilla Blackett – “Praise This” (Peacock)

Outstanding Writing in a Motion Picture

• V. Rockwell – “A Thousand and One” (Focus Features)
• Cord Jefferson – “American Fiction” (Orion Pictures / Amazon MGM Studios)
• Juel Taylor, Tony Rettenmaier – “They Cloned Tyrone” (Netflix)
• Maggie Betts, Doug Wright – “The Burial” (Amazon MGM Studios)
• Marcus Gardley – “The Color Purple” (Warner Bros. Pictures)

DIRECTING CATEGORIES

Outstanding Directing in a Comedy Series

• Amy Aniobi – “Survival of the Thickest” (Netflix)
• Donald Glover – “Swarm” (Amazon Prime Video)
• Neema Barnette – “Grand Crew” (NBC)
• Numa Perrier – “UnPrisoned” (Hulu/Onyx)
• Robbie Countryman – “The Upshaws” (Netflix)

Outstanding Directing in a Drama Series

• Alonso Alvarez–Barreda – “Snowfall” (FX)
• Amin Joseph – “Snowfall” (FX)
• Carl Seaton – “Godfather of Harlem” (MGM+)
• Dawn Wilkinson – “Power Book II: Ghost” (Starz)
• Geary McLeod – “Power Book II: Ghost” (Starz)

Outstanding Directing in a Television Movie or Special

• Bryian Keith Montgomery Jr. – “Cinnamon” (Tubi)
• Chris Robinson – “Shooting Stars” (Peacock)
• Keke Palmer – “Big Boss” (YouTube TV)
• Numa Perrier – “The Perfect Find” (Netflix)
• Vivica A. Fox – “First Lady of BMF: The Tonesa Welch Story” (BET+)

Outstanding Directing in a Motion Picture

• Antoine Fuqua – “The Equalizer 3” (Sony Pictures)
• Ava DuVernay – “Origin” (NEON)
• George C. Wolfe – “Rustin” (Netflix)
• Juel Taylor – “They Cloned Tyrone” (Netflix)
• Michael B. Jordan – “Creed III” (Amazon / MGM Studios)

Outstanding Directing in a Documentary (Television or Motion Picture)

• Allen Hughes – “Dear Mama” (FX)
• Bethann Hardison, Frédéric Tcheng – “Invisible Beauty” (Magnolia Pictures)
• Dave Wooley, David Heilbroner – “Dionne Warwick: Don’t Make Me Over” (CNN)
• Lisa Cortés – “Little Richard: I Am Everything” (Magnolia Pictures)
• Roger Ross Williams – “Stamped from the Beginning” (Netflix)

LITERARY CATEGORIES

Outstanding Literary Work – Fiction

• “Everything Is Not Enough” – Lola Akinmade Åkerström (William Morrow)
• “Family Lore” – Elizabeth Acevedo (HarperCollins Publisher)
• “House of Eve” – Sadeqa Johnson (Simon & Schuster)
• “Let Us Descend” – Jesmyn Ward (Scribner)
• “The Heaven and Earth Grocery Store” – James McBride (Penguin Random House, Riverhead Books)

Outstanding Literary Work – Nonfiction

• “Black AF History: The Un–Whitewashed Story of America” – Michael Harriot (HarperCollins Publisher)
• “BLK ART: The Audacious Legacy of Black Artists and Models in Western Art” – Zaria Ware (HarperCollins Publisher)
• “Iconic Home: Interiors, Advice, and Stories from 50 Amazing Black Designers ” – Black Interior Designers and June Reese (Abrams Books)
• “The Art of Ruth E. Carter” – Ruth E. Carter Foreword by Dani Gurira (Chronicle Books)
• “The New Brownies’ Book: A Love Letter to Black Families” – Karida L. Brown, Charly Palmer (Chronicle Books)

Outstanding Literary Work – Debut Author

• “And Then He Sang a Lullaby” – Ani Kayode Somtochukwu (Grove Atlantic)
• “Coleman Hill: A Novel” – Kim Coleman Foote (Zando / SJP Lit)
• “Rootless” – Krystle Zara Appiah (Ballantine Books)
• “The Black Joy Project – Kleaver Cruz (Mariner Books)
• “The God of Good Looks” – Breanne McIvor (William Morrow)

Outstanding Literary Work – Biography/Autobiography

• “Love and Justice: A Story of Triumph on Two Different Courts” – Maya Moore Irons (Andscape Books)
• “Lucky Me: A Memoir of Changing the Odds” – Rich Paul (Penguin Random House)
• “Nothing Is Missing” – Nicole Walters (Simon & Schuster)
• “Our Secret Society: Mollie Moon and the Glamour, Money, and Power Behind the Civil Rights Movement” – Dr. Tanisha C. Ford (Amistad, an imprint of HarperCollins)
• “Straight Shooter: A Memoir of Second Chances and First Takes” – Stephen A. Smith (Gallery Books/13A)

Outstanding Literary Work – Instructional

• “Badass Vegan: Fuel Your Body, Ph*ck the System, and Live Your Life Right” – John Lewis (Avery)
• “Everyday Grand: Soulful Recipes for Celebrating Life’s Big and Small Moments” – Jocelyn Delk Adams, Olga Massov (Clarkson Potter)
• “Flower Love: Lush Floral Arrangements for the Heart and Home” – Kristen Griffith–VanderYacht (Clarkson Potter)
• “Historically Black Phrases: From “I Ain’t One of Your Lil’ Friends” to “Who All Gon” Be There?”” – Jarett Hill, Tre’vell Anderson (Ten Speed Press)
• “Livable Luxe” – Brigette Romanek (Chronicle Books)

Outstanding Literary Work – Poetry

• “Above Ground” – Clint Smith (Little, Brown)
• “So to Speak” – Terrance Hayes (Penguin Books)
• “suddenly we” – Evie Shockley (Wesleyan University Press)
• “The Ferguson Report: An Erasure” – Nicole Sealey (Alfred A. Knopf)
• “Why Fathers Cry at Night” – Kwame Alexander (Little, Brown)

Outstanding Literary Work – Children

• “CROWNED: Magical Folk and Fairy Tales from the Diaspora” – Kahran Bethencourt (St. Martin’s Press)
• “How Do You Spell Unfair?: MacNolia Cox and the National Spelling Bee” – Carole Boston Weathorford, Frank Morrison (Candlewick Press)
• “I Absolutely, Positively Love My Spots” – Lid’ya C. Rivera, Nina Mata (HarperCollins)
• “Is This Love?” – Cedella Marley, Alea Marley (Chronicle Books)
• “Like Lava In My Veins” – Derrick Barnes, Shawn Martinbrough (Penguin Random House)

Outstanding Literary Work – Youth/Teens

• “Adia Kelbara and the Circle of Shamans” – Isi Hendrix (HarperCollins – Imprint: Balzer + Bray)
• “Eb & Flow” – Kelly J. Baptist (Crown Books for Young Readers)
• “Everyone’s Thinking It” – Aleema Omotoni (HarperCollins – Imprint: Balzer + Bray)
• “Fatima Tate Takes the Cake” – Khadijah VanBrakle (Holiday House)
• “Friday I’m in Love” – Camryn Garrett (Knopf Books for Young Readers)

Outstanding Graphic Novel

• “Curlfriends: New in Town” – Sharee Miller (Little, Brown Books for Young Readers)
• “Ms Davis: A Graphic Biography” – Sybille Titeux de la Croix, Amazing Améziane (Fantagraphics)
• “Queenie: Godmother of Harlem” – Aurelie Levy, Elizabeth Colomba (Abrams Books)
• “Stamped from the Beginning: A Graphic History of Racist Ideas in America” – Dr. Ibram X Kendi, Joel Christian Gill (Ten Speed Graphic)
• “The Talk” – Darrin Bell (Henry Holt & Company)

PODCAST CATEGORIES

Outstanding News and Information Podcast

• “#SundayCivics” (LJW Community Strategies)
• “Going Wild with Dr. Rae Wynn–Grant” (PBS Nature)
• “Holding Court with Eboni K. Williams” (Uppity Productions)
• “Into America with Trymaine Lee” (MSNBC)
• “The Assignment with Audie Cornish” (CNN Audio)

Outstanding Lifestyle/Self–Help Podcast

• “Black Money Tree” (Texas Black Expo Inc)
• “Chile, Please” (HONEY CHILE Entertainment)
• “Is This Going To Cause An Argument” (Seven14Seven Media)
• “The Laverne Cox Show” (Shondaland Audio + iHeartMedia)
• “The Light” (Audible)

Outstanding Society and Culture Podcast

• “Higher Learning with Van Lathan and Rachel Lindsay” (The Ringer)
• “Jill Scott Presents: J.ill the Podcast” (iHeart Media)
• “More Than That with Gia Peppers” (Dentsu)
• “The 85 South Show with Karlous Miller, DC Young Fly and Chico Bean” (The Black Effect Podcast Network)
• “The Bakari Sellers Podcast” (The Ringer)

Outstanding Arts and Entertainment Podcast

• “All the Smoke” (Paramount)
• “Baby, This is Keke Palmer” (Wondery)
• “Being Black: The 80s” (TheGrio)
• “Here’s The Thing” (Family Affair Media and Entertainment)
• “Nightcap with Unc and Ocho” (The Volume)

Outstanding Scripted Series Podcast

• “Crimson Hearts Collide” (Hallmark Media and AYR Media)
• “Small Victories” (WGC Productions)
• “TwentyOne 21: A Black AF Scripted Audio Comedy” (TwentyOne 21 Podcast)
• “Whose Amazing Life?” (Wondery)
• “Yes We Cannabis” (Audible)

Outstanding Podcast – Limited Series/Short Form

• “I Am Story” (AFSCME)
• “Official Ignorance: The Death in Custody Podcast” (Hip Hop Caucus)
• “Reclaimed: the Forgotten League” (ABC Audio)
• “The Greatest Day: The Epic Story Behind Hip-Hop’s Most Iconic Photograph” (Audible)
• “Wakanda Forever: The Official black Panther Podcast” (Proximity Media and Marvel Entertainment)

COSTUME DESIGN, MAKE–UP & HAIRSTYLING CATEGORIES

Outstanding Costume Design (Television or Film)

• Charlese Antoinette Jones – “Air” (Amazon/MGM Studios)
• Dierdra Elizabeth Govan – “I’m A Virgo” (Amazon/MGM Studios)
• Toni–Leslie James, Josh Quinn – “Rustin” (Netflix)
• Francine Jamison–Tanchuck – “The Color Purple” (Warner Bros. Pictures)

Outstanding Make–up (Television or Film)

• Cole Patterson, Fabiola Mercado – “Bel-Air” (Peacock)
• Miho Suzuki – “Lessons in Chemistry” (Apple TV+)
• Beverly Jo Pryor, Eric Pagdin, Quintessence Patterson – “Rustin” (Netflix)
• Carol Rasheed, Saisha Beecham, Ngozi Olandu Young, Manny Davila, Milene Melendez – “The Color Purple” (Warner Bros. Pictures)
• Denise Pugh–Ruiz – “UnPrisoned” (Hulu/Onyx)

Outstanding Hairstyling (Television or Film)

• Shavonne Brown – “A Black Lady Sketch Show” (HBO | Max)
• Carla Joi Farmer – “Air” (Amazon MGM Studios)
• Elizabeth Robinson – “Creed III” (Amazon MGM Studios)
• Melissa “Missy” Forney, Sterfon Demings – “A Black Lady Sketch Show” (HBO | Max)
• Lawrence Davis, Tym Wallace, Andrea Mona Bowen, Angela Renae Dyson, Jorge Benitez Villalobos – “The Color Purple” (Warner Bros. Pictures)

STUNT CATEGORY

Outstanding Stunt Ensemble (TV or Film)

• “Creed III” (Amazon/MGM Studios)
• “The Continental: From the World of John Wick” (Peacock)
• “They Cloned Tyrone” (Netflix)
• “Titans” (The CW)
• “Warrior” (HBO| Max)

OUTSTANDING SOCIAL MEDIA PERSONALITY OF THE YEAR NOMINEES

• Angel Laketa Moore
• Druski
• Keith Lee
• Lynae Vanee
• Terrell Grice

The post PRESS ROOM: 55th NAACP Image Awards nominees unveiled appeared first on AFRO American Newspapers.

By Maria Sherman
AP Music Writer

LOS ANGELES (AP) — The 66th Grammy Awards are set to take place Feb. 4 at the Crypto.com Arena in Los Angeles, and there’s a lot to be excited about.

Women outpace men in the major categories, so expect to see a spotlight on its female nominees.

“That’s the same throughout the show, really — it’s dominated by women,” Grammys executive producer Ben Winston told The Associated Press. 

“That is something we’re really celebrating,” his fellow EP Raj Kapoor added. “It’s almost unprecedented.”

Comedian Trevor Noah will host for a fourth year in a row, history could be made, and unlike those other award shows, the Grammys doubles as a concert featuring the biggest artists in the world.

HOW TO WATCH

The main show will air live on CBS and Paramount+ beginning at 8 p.m. Eastern. Paramount+ with Showtime subscribers can watch live and on demand. Paramount+ Essential subscribers won’t be able to stream the ceremony until the next day.

E! will broadcast its “Live From E!: Countdown to the Grammys” show, with a mix of fashion coverage and celebrity interviews starting at 6 p.m. Eastern, hosted by Laverne Cox and comedian Heather McMahan.

The Associated Press will also stream a three-hour red carpet show with interviews and fashion footage. It will be streamed on YouTube, Twitter and the AP’s website beginning at 4 p.m. Eastern.

THE NOMINEES

SZA is the lead contender with nine nominations, followed closely by Victoria Monét and Phoebe Bridgers with seven. Bridgers’ band boygenius has six, as does Taylor Swift, Olivia Rodrigo, Miley Cyrus, Billie Eilish, Brandy Clark, Batiste and producer Jack Antonoff.

“Barbie” fans have a reason to celebrate. Just like its performance at the box office, the film will make its presence known at the Grammys: Music from the hit film’s soundtrack earned 11 nominations, including nabbing four of the five slots in the visual media song category.

There are a few history-making opportunities as well: A Black woman hasn’t won album of the year since 1999, when “The Miseducation of Lauryn Hill” was awarded the top prize. This year, SZA or Janelle Monae could change that.

If Taylor Swift takes home album of the year, she breaks the record of the artist with the most wins, ever, with four. Lana Del Rey and Miley Cyrus may win their first Grammys.

If Victoria Monét ‘s “Hollywood” wins best traditional R&B performance, her 2-year-old daughter Hazel will become the youngest Grammy winner. Karol G could become the first female artist to ever win in the best música urbana album category if she wins for “Mañana Será Bonito.” Jack Antonoff could tie Babyface as the producer with the most consecutive wins in the producer of the year, non-classical category with a third win in 2024.

WHO WILL PERFORM?

A lot of people! The list includes: SZA, a first-ever Grammys performance from Joni Mitchell, and five-time Grammy winner and 23-time nominee Billy Joel.

The lineup also includes Grammy winners and current nominees Billie Eilish, Olivia Rodrigo, Dua Lipa, Burna Boy, Luke Combs and Travis Scott.

The post The 2024 Grammy Awards are here with SZA, Victoria Monét leading the nominations appeared first on AFRO American Newspapers.

By Ama Brown 
AFRO Editorial Assistant 

From the fun to the sentimental, this week, the AFRO has compiled a list of classic hip-hop songs to fill the air with holiday cheer.  While we love Mariah Carey, in the 50th year of hip-hop, the time is now to highlight the work of the beat riders and rhyme writers who have carried the genre on their backs for decades, solidifying a movement. This Christmas, make sure you get into the holiday spirit with these hip-hop holiday tunes. Share your favorite hip-hop songs with the AFRO via social media, using the hashtag the #AFROhiphopholiday

Happy holidays and happy 50th anniversary to hip-hop!

1. Kurtis Blow’s 1979 hit, “Christmas Rappin,” is a classic that features amodernized rendition of “Twas the night before Christmas.”  
2. Run DMC’s “Christmas in Hollis” was a breakout hit from the Def Jam Records charity album in 1987.
3. TLC’s 1992 song, “Sleigh Ride,” is a Christmas tune for the old heads looking to jam to the world’s most iconic trios.
4. In 1996 Snoop Dogg turned “Santa Claus Goes Straight To The Ghetto” into a posse cut, featuring Daz, Nate Dogg, Tray Deee and others. Take on the holiday with the smooth tones of Nate Dogg’s vocals and Snoop Dogg’s festive lyrics.
5. Ying Yang Twins’ 2014 song, “Ho Ho Ho,” is the perfect selection for the Christmas party where no kids are allowed.
6. Dej Loaf and Kodak Black teamed up in 2016 for their song “All I Want for Christmas,” a holiday tune with a sentimental vibe. 
7. The party is still going more than two decades after Quad City DJs released their 1995 hit, “What You Want for Christmas.”
8. In 2012, rap artist DMX was asked for an impromptu Christmas song. What he delivered was a gritty twist on the classic hit “Rudolph the Red-Nosed Reindeer.”
9. Tyler the Creator debuted “Big Bag” in 2018, bringing Dr. Seuss’s “The Grinch who stole Christmas” to life.

The post Nine hip-hop Christmas songs for the holiday season appeared first on AFRO American Newspapers.

By AFRO Staff

Strains of multiple musical genres —classical, contemporary, jazz, gospel, show tunes —filled the air as students of Melissa T. Music Lessons performed the gems that attested to the practice and discipline they’d acquired during the year. 

The December 9 recital, on the campus of Central Presbyterian Church in Towson, provided the arena for singers and instrumentalists to show off their progress in performance. Each one delighted parents, family members and community supporters; to which energetic applause, “oohs” and “ahs” bore witness. Plus a little laughter when pianists were too small to be seen when they played. 

This was the 14th of its kind showcase for the students of Melissa Chin, who has provided such training since 2017. “Our team of instructors is not only highly educated and talented but deeply committed to nurturing each student’s unique musical path,” Chin said. “We offer a diverse range of programs across various instruments and genres.”

She said they are excited about their upcoming expansion, which includes a new brick and mortar studio. “This space will further enhance our community-centric approach, providing an inspiring environment for both learning and performing.”

More about Melissa T Music Lessons:

Melissa T Music Lessons has been dedicated to providing inclusive and high-quality music education in Baltimore since 2017. Our mission is to make music accessible to all, fostering a love for music that transcends boundaries.

Our team of instructors is not only highly educated and talented but deeply committed to nurturing each student’s unique musical path. We offer a diverse range of programs across various instruments and genres. 

We are proud of our students’ achievements, with many excelling in local and regional music competitions and performances. Many perform in their  schools and churches. Our approach to music education emphasizes individual growth, creativity, and the transformative power of music.

Currently, we are excited about our upcoming expansion, which includes a new brick-and-mortar studio. This space will further enhance our community-centric approach, providing an inspiring environment for both learning and performing.

I hope this information provides a clear picture of our dedication to music education and our students’ successes. Thank you for the opportunity to share our story with the AFRO community.

The post Musical sounds abound as Melissa T’s students take the stage appeared first on AFRO American Newspapers.

By Stacy M. Brown,
NNPA Newswire

TikTok, the Chinese-owned social media giant, is bidding farewell to its $2 billion Creator Fund, an initiative launched in 2020 to support eligible users creating content on the platform financially. A TikTok spokesperson confirmed the announcement, which represents a significant change in the environment for influencers and content creators who have long relied on this fund to support their livelihoods.

The Creator Fund, as per a July 2020 news release from TikTok, was designed to “help support ambitious creators who are seeking opportunities to foster a livelihood through their innovative content.” Over the past three years, the fund has distributed money to creators based on their share of overall views on the platform. However, after the fund’s launch, many creators voiced their concerns, asserting that it had made monetization on TikTok an uphill battle.

Notable internet personality Hank Green, a former YouTube star, was among the outspoken critics of the fund. Green argued that the monetization tool primarily served TikTok’s interests rather than those of its creators. He pointed out that, despite amassing substantial viewership numbers, creators only made meager incomes from the platform. For instance, Green, who boasts 8 million followers on TikTok, revealed that he earned just about 2.5 cents per 1,000 views.

The Creator Fund will cease operations on Dec. 16 in the United States, the United Kingdom, France and Germany, according to reports from The Verge and Fortune. Although TikTok confirmed the fund’s termination to NBC News, the platform’s spokesperson gave no further information or a specific end date.

TikTok has already introduced a replacement for the Creator Fund, known as the Creativity Program, aiming to address the initial grievances of creators. In a blog post in February, TikTok announced that creators could “earn up to 20 times the amount previously offered by the Creator Fund.” To qualify for the Creativity Program, videos must be longer than a minute, garner at least 1,000 views and adhere to the platform’s community guidelines, among other criteria.
The program remains in beta testing and, at present, is available exclusively to U.S.-based creators over 18 with more than 10,000 followers and a minimum of 100,000 video views in the last 30 days. It remains to be seen whether TikTok intends to introduce a different monetization program that includes creators worldwide.

“The Creativity Program was developed based on the learnings and feedback we’ve gained from the previous Creator Fund,” the Tik Tok spokesman stated. “As we continue developing new ways to reward creators and enrich the TikTok experience, we value the feedback and direct insights from our community to help inform our decisions.”

This article was originally published by NNPA Newswire.

The post TikTok shuts down $2 billion creator fund appeared first on AFRO American Newspapers.

By Imuetinyan Ugiagbe,
Special to the AFRO

CJay Philip, a distinguished actress, director and choreographer who also serves as the artistic director of  Dance & Bmore, extends a warm invitation to both local and distant Baltimore residents for an engaging and entertaining evening as she presents her latest production, “Sweet Charity,” an adaptation of the book by American playwright Neil Simon.

“Sweet Charity” is a romantic comedy set in the 1960s in New York City. The story revolves around the life of a young woman named Charity Hope Valentine, portrayed by Peri Walker, who is desperately seeking love but facing continuous setbacks. 

Her fortunes take a turn when she becomes accidentally stuck in an elevator with a stranger, later revealed to be Oscar Linguist, played by Terrance Martin This sets the stage for a romantic journey filled with excitement and self-discovery.

Originally hailing from upstate New York, Philip resided in NYC from 1991 through 2009. The producer’s journey in the arts began during her toddler years. Given her older sister’s lack of interest in dance classes, Philip stepped into the role and gradually honed her multifaceted skills in the performing arts world and successfully gained a full ride to university. 

“I was 2 ½ when I first started dance classes. My sister, who was 6, was enrolled in the class but hated it, so they let me take her place because my mom was not about to waste her hard-earned money,” Philip recalled. “I sang throughout my childhood but joined the youth choir in church as a teen. By high school, I knew I was heading toward a career in the arts, and I gained a full scholarship to the Empire State Institute of Performing Arts, ESIPA, from age 14-18, where I trained in acting, writing, and dance.” 

In 2010, she made Baltimore her home and established her dance company, Dance & Bmore. 

For the production of “Sweet Charity,”  Philip shared that Bmore Broadway Live held open auditions in May and June of 2023. Part of the actress’ goal is to create a welcoming space for auditionees.

“Anyone could come and share a song, monologue or dance. I’ve been a choreographer for many productions and dance captain on Broadway, where they have cattle calls and see hundreds of people in one day,” she said. “As a producer-director, I try to make the audition process more friendly and community-focused. I want everyone to leave feeling glad they came, whether they got the role they wanted or not. We circle up, warm up together, hear everyone’s name, play improv games to break the ice, and have fun in a creative, shade-free space.” 

Auditioning is comparable to piecing together puzzle elements to craft a unified picture, Philip said. She has a fondness for encountering new talent and finds inspiration in their unique qualities during the creative process. 

However, selecting the best thespians for various roles required a sense of intuition, gauging how the auditionees embody the characters they are portraying. 

“Auditioning is like putting together puzzle pieces to create the picture you are trying to make,” Philip said. “I love meeting new talent and getting inspired by who they are and what they bring to the creative play and process. After open calls, we had a few runs of invited calls to work on pairing people up and seeing what chemistry and energies fit together best.” 

With each round of auditions, Philip faced the escalating challenge of envisioning anyone other than her chosen Charity. Once the casting decision was made, the focus seamlessly transitioned to pinpointing the perfect match for the character’s love interest, Oscar. 

Philip, with an acute eye for talent, immediately turned to Terrance Martin, a seasoned collaborator since his teenage years and the leading man in her original production, “Voices of Carmen.”

Recognizing the dynamic chemistry between Martin and Walker on stage, Philip deemed their energy as an unparalleled match. Philip says their extraordinary off-stage humility paved the way for a seamless collaboration and a harmonious theatrical experience. She deems herself exceptionally fortunate to have them as the leads in this witty and intricately layered musical storytelling. 

The brilliant choreographer aims for “Sweet Charity” to inspire the audience, fostering feelings of hope, self-love, and recognizing the importance of having dreams and visions for one’s life and future.

“Sweet Charity” enchanted Moto House audiences throughout the week, beginning Nov. 11. The show will conclude on Sunday, Nov. 19. 

To access additional details about the play, visit here.

The post CJay Philip’s latest production ‘Sweet Charity’ provides a captivating voyage of love, laughter, music and inspiration appeared first on AFRO American Newspapers.

By KATE BRUMBACK, Associated Press

ATLANTA (AP) — When rapper Young Thug goes to trial later this month on gang and racketeering charges, prosecutors will be allowed to use rap lyrics as evidence against him, a judge ruled Thursday.

Fulton County Superior Court Chief Judge Ural Glanville said in court he would allow prosecutors to introduce 17 sets of lyrics they have identified as long as they can show that the lyrics are related to crimes that the rapper and others are accused of committing. Defense attorneys had asked the judge to exclude them, arguing the lyrics are constitutionally protected speech and would be unfairly prejudicial.

Young Thug, whose given name is Jeffery Lamar Williams, was indicted last year along with more than two dozen others. After some defendants reached plea deals and others were separated to be tried later, opening statements are set to begin Nov. 27 in the trial of Young Thug and five others.

Prosecutors have said Young Thug co-founded a violent criminal street gang in 2012 called Young Slime Life, or YSL, which they allege is associated with the national Bloods gang. Prosecutors say the rapper used his music and social media posts to promote the gang, which they say was behind a variety of violent crimes, including killings, shootings and carjackings.

Young Thug has had enormous success as a rapper and has his own music label, Young Stoner Life. Defense attorneys have said YSL is just a music label, not a gang.

Artists on his record label are considered part of the “Slime Family,” and a compilation album, “Slime Language 2,” rose to No. 1 on the charts in April 2021. He co-wrote the hit “This is America” with Childish Gambino, which became the first hip-hop track to win the song of the year Grammy in 2019.

Prosecutors used Georgia’s expansive gang and anti-racketeering laws to bring the indictment. All of the defendants were accused of conspiring to violate the anti-racketeering law, and the indictment includes rap lyrics that prosecutors allege are overt acts “in furtherance of the conspiracy.”

“The question is not rap lyrics. The question is gang lyrics,” prosecutor Mike Carlson told the judge during a hearing Wednesday, later adding. “These are party admissions. They happen to come in the form of lyrics.”

Carlson argued that First Amendment speech protections do not apply because the defendants are not being prosecuted for their lyrics. Instead, he said, the lyrics refer to the criminal act or the criminal intent related to the charges.

Prosecutor Simone Hylton separated the lyrics into three categories: those that prove the existence of YSL as an enterprise, those that show the gang’s behavior and actions, and those that show that Young Thug is a leader of the gang.

Defense attorney Doug Weinstein, who represents defendant Deamonte Kendrick, who raps as Yak Gotti, argued during the hearing that rap is the only art form or musical genre that is brought into court as evidence of crimes.

He said his client’s lyrics are a performance done as a character, not admissions of real-world things he’s done. But, Weinstein asserted, because of the nature of rap music, with its violence and extreme language, the lyrics will unfairly prejudice the jury.

“They’re going to look at these lyrics and instantly say they are guilty,” he said. “They are not going to look at the evidence that’s actually probative of their guilt once these lyrics get in front of them.”

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The Associated Press

OAKLAND, Calif. (AP) — A stretch of street in Oakland, Calif., was renamed on Nov. 3 for Tupac Shakur, 27 years after the killing of the hip-hop luminary.

A section of MacArthur Boulevard near where he lived in the 1990s became Tupac Shakur Way, following a ceremony that included his family members and Oakland native MC Hammer.

“Let his spirit live on the rest of these years in these streets and in your hearts,” Shakur’s sister Sekyiwa “Set” Shakur told the crowd, wiping away tears at the end of a nearly two-hour ceremony. The sign for Tupac Shakur Way was unveiled moments later.

MC Hammer, the “U Can’t Touch This” rapper who spent many of Shakur’s final months with him before his 1996 shooting death at age 25, said in his remarks that Shakur was, “hands down, the greatest rapper ever, there’s not even a question of that.”

Shakur collaborator Money-B and Oakland hip-hop legend Too Short also spoke at the ceremony.

Shakur was born in New York and was raised there and in Baltimore, but he moved with his mother to the San Francisco Bay Area in the late 1980s. He would live in Oakland in the early 1990s and embraced it as an adopted hometown.

“He claimed Oakland,” said City Councilwoman Carroll Fife, who led the effort to rename the street. “He said Oakland gave him his game.”

The ceremony came the day after a former Southern California street gang leader pleaded not guilty to murder in the Las Vegas shooting death of Shakur.

Duane Keith “Keffe D” Davis is charged with orchestrating the shooting. He is the only person still alive who was in the vehicle from which the fatal shots were fired and in September, 27 years after the killing, became the only person ever charged with a crime in the case.

Shakur’s relatives have kept their distance from the prosecution and made only passing reference to it Nov. 3. Sekyiwa Shakur said her brother “died at 25 years old in gang violence, by the hands of another Black man, by the planning of another Black man, whoever that man may be.”

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By Ericka Alston Buck,
Special to the AFRO

News of film and stage icon Richard Roundtree’s death sent a ripple of grief around the world as fans and loved ones learned the news, triggering a profound sense of loss. 

Roundtree’s monumental influence extended far beyond the geographical boundaries of New Rochelle, N.Y., where he was born. With his magnetic presence and groundbreaking roles, he left an incredible mark on Hollywood and the hearts of people worldwide. Across the country, creatives who thrive on art and culture, felt the impact of the loss of a legend who had inspired generations of artists.

Best known for his iconic portrayal of the smooth private detective John Shaft, Roundtree created a timeless and universal character. The “Shaft” film series has served as a cultural touchstone since its debut in 1971. The Shaft character broke not only crimes but racial barriers in the industry, becoming a symbol of empowerment and a testament to the power of representation.

Rain Pryor, the talented actress, comedian and daughter of the late Richard Pryor, shared her thoughts on Roundtree’s passing. 

“The death of Richard Roundtree is a huge loss in our community,” said Pryor. “He’s one of the people that helped pave the way in the industry for people of color. He’s now an ancestor.” 

Pryor, with a family deeply intertwined with the world of entertainment, recognized Roundtree’s monumental contributions and the inspiration he provided to artists of all backgrounds.  Both her mother and father were personal friends of the legend. 

Local actor and Grammy-nominated entertainer Richard Burton, renowned for his role in “The Wire,” expressed his sorrow at Roundtree’s passing. Burton revealed a personal connection to Roundtree’s work. 

“His movies were the first movies that my parents took me to see at The Mayfair and Boulevard Theaters. He was one of my first inspirations,” said Burton. “I knew I could one day be on the big screen because I first saw him do it.” 

“I am particularly saddened by the passing of Richard Roundtree,” said Burton. 

Roundtree’s influence extended beyond his peers, motivating young talents like Burton to dream big and pursue their own acting careers.

Roundtree was known for his support of local arts initiatives and community projects. His contributions were not limited to his roles but extended to his real-life role as a mentor and friend to the artistic community. 

Roundtree’s impact on the international arts community was profound. His universal appeal and his commitment to breaking down racial barriers resonated with artists and enthusiasts alike. His legacy served as a reminder of the importance of representation and diversity in the arts, inspiring many to continue pushing boundaries and forging their own paths.

As family and fans celebrate Roundtree’s life and work, they find solace in the enduring impact of a man who transcended borders. 

Richard Roundtree, a true legend, left an indelible mark on Hollywood and the hearts of those who were fortunate enough to experience his artistry. His memory will continue to inspire artists and serve as a testament to the power of representation.

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By Reuben Greene,
Special to the AFRO

Baltimore’s Rams Head Live came alive on Oct. 15 as the venue played host to a remarkable concert event – the kickoff of the “90 Day Run Tour,” led by Baltimore’s own YG Teck.

The electrifying night was not just about music, but a celebration of Baltimore culture and homegrown talent.  

YG Teck, the rapper and entrepreneur hailing from West Baltimore, has been making waves in the music scene for years. Born as Terrance Collins, this charismatic artist has been on a journey to put his city on the map. 

The rapper delivered each line with a passion that resonated with everyone in attendance. Fans went word for word with YG Teck on many of his most popular songs, including “90 Day Run” and “Big Dog.”

The music from YG Teck serves as a reflection of life experiences, the challenges he’s faced, and the determination that has brought him to this point as a man and as an artist. 

As the lights dimmed, the stage came to life with a spectacular set design. A convenience store, complete with fluorescent lights served as the backdrop. Larger-than-life images of Baltimore’s signature row homes illuminated the stage, a nod to the city that shaped YG Teck’s life and art.

The crowd engagement was unlike any other. Cell phones lit up the room, creating a sea of screens, as fans captured every moment to share with the world. YG Teck’s unique ability to connect with his audience was evident throughout the night.

The evening was not just about YG Teck; it was a platform for local artists to shine, as the tour is billed under “YG Teck and Friends.” The stage welcomed some of Baltimore’s finest talent, further emphasizing the unity and camaraderie in the city’s rap music scene. The collaboration extended to a stunning performance with fellow Baltimore rapper Young Moose, a moment that left the crowd in awe. Not only did YG Teck showcase the musical talent of the city, but he also provided a platform for local businesses and his record label and clothing line, No Excusez. 

What truly set this night apart was the incredible audience interaction. YG Teck made sure to bridge the gap between the stage and his fans. At one point, he handed the microphone to audience member Manii Johnson and the room erupted in cheers as she delivered his lyrics from memory. It was a testament to YG Teck’s connection with his community and the passion he inspires.

This unforgettable night not only celebrated his journey to stardom, but also showcased the local talent that makes Baltimore a city with a thriving and vibrant music scene. 

YG Teck is undoubtedly putting Baltimore on his back, carrying it to new heights and leaving a legacy that will resonate for years to come. 

On Oct. 21 at 9 p.m. YG Teck and Friends will be in Connecticut at The Spot, located at 370 E. Main St. in Ansonia. Though tickets for that show are already sold out on Eventbrite, they are available with other outlets such as All Events. Tickets for his Nov. 5 show in Philadelphia are available on StubHub.com. 

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent
@StacyBrownMedia

The event will be broadcast on theGrio and AP’s television, audio, and digital platforms, offering an opportunity for a diverse audience to engage in crucial conversations surrounding race, democracy, and social justice in the United States.

(NNPA NEWSWIRE) – Allen Media Group’s multimedia platform, theGrio in collaboration with The Associated Press is set to present what organizers called a thought-provoking panel discussion titled, “Race and Democracy: The Facts and the Fury.” The event will be broadcast on theGrio and the AP’s television, radio and digital platforms, offering an opportunity for a diverse audience to engage in crucial conversations surrounding race, democracy and social justice in the United States.

The panel, scheduled to air on Oct. 4, at 7 p.m. ET, will be hosted by Aaron Morrison, the AP’s race and ethnicity editor, alongside a lineup of experts.

The panelists include:
• Aaron Morrison: A distinguished multimedia journalist and the AP’s race and ethnicity news editor, Morrison has a track record of in-depth reporting on civil rights, politics and grassroots social movements, including the Black Lives Matter movement.

• Ayanna Alexander: As a member of the AP’s democracy team, Alexander focuses on race and voting. Notably, she provided extensive coverage of the trial of former Minneapolis officer Derek Chauvin, a case that led to his conviction for the murder of George Floyd.

• Christina Greer: A respected political scientist, author and commentator, Greer is known for her insights into American politics and race relations. She hosts “The Blackest Questions” on theGrio Black Podcast Network and holds a position as public scholar at The City College of New York.

• Marc Lamont Hill: An influential scholar, activist, and award-winning media personality, Hill is a professor at Temple University and hosts “The Grio News with Marc Lamont Hill” on theGrio Television Network.

• Moderator Noreen Nasir: Nasir is a national video journalist on the AP’s race and ethnicity team, known for her comprehensive reporting on racial disparities and injustice in the U.S. Her coverage ranges from racial justice protests to the impact of pandemic restrictions on rehabilitation programs in prison.

In a news release, TheGrio noted that the discussion would delve into pressing issues, such as efforts to restrict race-related education, targeted racial violence and threats to democracy. Organizers said the collaboration between theGrio and the AP showcases a commitment to fostering informed conversations on critical topics affecting the nation.

“Race and Democracy: The Facts and the Fury” will premiere on “TheGrio News with Marc Lamont Hill” on theGrio Television Network at 7 p.m. ET on Oct. 4, with a simultaneous broadcast on theGrio television and streaming platforms. The discussion will also be accessible to AP customers via APNews.com at 7:30 p.m. ET.

For more information, visit www.thegrio.com and www.apnews.com.

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By Jake Coyle
AP Film Writer

TORONTO (AP) — Fifty pages into Percival Everett’s “Erasure” Cord Jefferson knew he wanted to adapt it into a movie script. Halfway through, he began to see Jeffrey Wright playing the book’s academic protagonist, Thelonious “Monk” Ellison. By the time he was finished, he knew he wanted to direct it, too.

As quick as that, Cord Jefferson — the 41-year-old TV writer of “Succession,” “Master of None” and “Watchmen” — began working toward his directing debut, “American Fiction.” And just as speedily, following its premiere at the Toronto International Film Festival, “American Fiction” became a breakout hit of the festival, launching Jefferson as a major new voice in movies.

In the film, Monk (Wright), is a frustrated author who’s agent (John Ortiz) tells him his books — the latest of which is a reworking of Aeschylus’ “The Persians” — aren’t “Black enough.” “I’m Black,” he responds, “and this is my book.”

Monk, played with acerbic perfection and delightful disgust by Wright, writes as a drunken lark, a book intended to parody the kinds that sell and cater to White audiences’ view of Black people. Under the pseudonym Stagg R. Leigh, he dashes off a manuscript of thug life trauma porn titled “My Pafology” that — surprise — immediately sells and gets bought for movie rights.

“All the conversations that the book was having were conversations I was having with my friends and had been having for decades,” Jefferson, who was an editor for Gawker before transitioning into TV, said in an interview.

“I worked as a journalist for eight or nine years before working in television,” he added. “I was having the exact same conversations with Black colleagues in both professions: Why are we always writing about misery and trauma and violence and pain inflicted on Blacks? Why is this what people expect from us? Why is this the only thing we have to offer to culture?”

“American Fiction,” which MGM will release Nov. 3 in theaters, is a funny, jazzy riff on Black representation in books and films that delights in mocking both stereotypes and identity politics while pleading for something more nuanced — something like “American Fiction.”

“One of the main themes is the way we see ourselves as unique, specific individuals, and the way the world tries to put us into little boxes and sand away all the things that make us unique and special,” Jefferson said.

At the TIFF premiere, Jefferson took a moment to note that he loves movies like “12 Years a Slave” and “New Jack City.” But Jefferson, lamenting “a poverty of imagination when it comes to what Black life looks like,” said other films on the spectrum should exist, too.

“I feel like Jewish people get ‘Schindler’s List’ and ‘Annie Hall,'” said Jefferson.

While Woody Allen’s film may be a reference point to “American Fiction,” direct comparisons are harder to come by for such a breezy but biting commentary. Tracee Ellis Ross, Sterling K. Brown and Erika Alexander co-star, along with Issa Rae, who plays the author of a book titled “We’s Lives in Da Ghetto.”

“One of the most exciting things has been in test screening when we ask people, ‘What does this film remind you of?'” says Jefferson. “There’s been several people who can’t name a comedy or a film it reminds them of.”

Jefferson, who grew up in Tucson, Arizona, wrote on some of the issues his film touched on in a 2014 piece titled “The Racism Beat.” In it, he described the importance of writers from marginalized groups bringing individual perspectives to journalism, but the difficulty of not being defined by it. Jefferson, who also wrote essays about donating a kidney to his father and being biracial, became a writer for “The Nightly Show with Larry Wilmore” before transitioning into drama and comedy series. He won an Emmy for penning the 1921 Tulsa Race Massacre episode of “Watchman” with Damon Lindelof.

Directing a film, Jefferson says, wasn’t necessarily a lifelong ambition. He hadn’t gone to film school, so he didn’t think it was in the cards until he spoke with a friend directing an episode of “Master of None” who had studied business, not film.

“I realized all you need to do is have a vision and be able to articulate it to other people,” says Jefferson.

That “American Fiction” is hard to categorize, he says, might mean he’s on the right track.

“This being my first movie, I’m eager to find what my voice is,” Jefferson says. “I don’t really know what my voice is yet, but I’m trying to achieve that. Having people say that the movie feels unique makes me think maybe I’m on to finding my voice somewhere along the path.

Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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By Special Release
Baltimore Center Stage 

altimore Center Stage announced today that Tony Award-nominated and Obie Award winning director Stevie Walker-Webb will join the company as artistic director. Walker-Webb will assume the role Oct. 1, 2023, succeeding Interim Artistic Director Ken-Matt Martin. He joins Adam Frank, BCS’s Managing Director, to form the BCS leadership team.

“From the moment I stepped into the lobby of Baltimore Center Stage, I intuitively knew that I’d found a creative home,” said Walker-Webb. “The rich history and undeniable heart of this city is unmatched. Baltimore has long been a cultural beacon, and I’m excited to use my experience and national reach to amplify what makes Baltimore so special.”

Walker-Webb continued: “This theater sits at the precise intersection of all the things that matter to me both as an artist and as a civically engaged citizen. I am honored to be leading an institution that has over 60 years of proven commitment to its community and intend to deepen that commitment by working with the Baltimore Center Stage team to bring only the most exciting and cutting-edge art to our city. This theatre belongs to all of us, and my plan is to program plays that will make Baltimore fall in love with live performance again and again.”

“Stevie is a bold and thoughtful leader, who matches artistic brilliance and delight with a history of placing art at the center of the work to build healthier communities and a better world,” said Managing Director Adam Frank. “At this critical juncture in the American theatre, his passion, energy and commitment to Baltimore make him an inspired choice for a vibrant future for BCS. I can’t wait to work with him to realize a beautiful new chapter for this amazing company.”

“Baltimore Center Stage has a long and storied history of daring and courageous leaders, from Irene Lewis and Kwame Kwei-Armah, to Stephanie Ybarra and Ken-Matt Martin. We are thrilled to pass the torch of leadership to Stevie Walker-Webb,” said Sandy Liotta, Board President of BCS.  “One of Stevie’s celebrated productions at BCS was Our Town, a story of community and life that Stevie staged as a compelling ode to the city of Baltimore and all its people. Stevie understands deeply the bond between the arts and our city, and with his and Adam’s leadership, BCS will strengthen that captivating bond for many years to come. It is a great day for Baltimore as we welcome Stevie back to our theater!”

Walker-Webb is a Tony Award nominated and Obie Award winning director, playwright, cultural worker and educator. His work has been commissioned by the American Civil Liberties Union and National Black Theater, and he has been produced on and off Broadway. Select productions include Ain’t No Mo’ on Broadway and at the Public Theater,  Gun & Powder at Paper Mill Playhouse, One In Two at The New Group, Black Odyssey at Classic Stage, and Fairview at Woolly Mammoth. For television, he has written for the Emmy Award nominated hit comedy, The Ms. Pat Show, on BET. 

Walker-Webb is also the founder of HUNDREDS of THOUSANDS, an arts and advocacy organization that makes visual the suffering and inhumane treatment of incarcerated mentally ill people. He is a recipient of the Princess Grace Award for Theatre; The Lily Award, awarded by the Dramatists Guild of America; and was a 2050 Fellow at New York Theatre Workshop. He is an artist and lecturer at Harvard University and is the Founding Artistic Director of the Jubilee Theatre in Waco, Texas. He has created art and theatre all over the world – in Madagascar, South Africa, Mexico, and across America. 

His productions at Baltimore Center Stage include Thornton Wilder’s Our Town, R. Eric Thomas’s The Folks At Home, and, this past season, Life Is A Dream, an adaptation of Pedro Calderón de la Barca’s play by María Irene Fornés.

Baltimore Center Stage’s 2023/24 season – which kicks off September 14^th with Lady Day at Emerson’s Bar & Grill – was programmed by former Artistic Director Stephanie Ybarra. Walker-Webb will lead this season while deepening his relationship with Baltimore and the BCS community and gaining a better sense of where the company fits within the city’s landscape, as he prepares to share his vision for the theatre commencing with the 2024/25 season. 

“When I think of the future of BCS, I envision a theater where we develop new works that are commercially successful in Baltimore, but also springboard to Broadway,” said Walker-Webb.  “I envision a theater for all ages and cultures, where our programs and productions are filled to bursting. I envision a theater so successful that we become the leading regional theater in the nation. I feel a deep calling to this city and Baltimore Center Stage, and I am deeply proud to now call both home. I cannot wait for what’s next.”

BCS’s 2023/24 season begins this fall with Lanie Robertson’s Tony Award nominated play about the life of Billie Holiday, Lady Day at Emerson’s Bar and Grill, directed by Nikkole Salter (In the Continuum) and starring Baltimore native Tanea Renee. The season continues with the ArtsCentric production of Rodgers and Hammerstein’s Cinderella (Enchanted Edition), directed by Kevin McAllister (ArtsCentric Artistic Director).

The season continues in 2024 with a world premiere co-production with Mosaic Theater Company of Mexodus, written and performed by Brian Quijada (Where Did We Sit On The Bus) and Nygel D. Robinson (The Amen Corner), directed by David Mendizábal (Notes on Killing…), and Katori Hall’s Pulitzer Prize-winning comedy, The Hot Wing King, directed by Christopher D. Betts (Dreamgirls – The Paramount Theatre) and produced in association  with Hartford Stage. The season will end with a new adaptation of Oscar Wilde’s The Importance of Being Earnest, directed and adapted by Jenny Koons (Men on Boats at BCS).

Designated the State Theater of Maryland in 1978, Baltimore Center Stage provides the highest quality theater and programming for all members of our communities, including youth and families. Baltimore Center Stage ignites conversations and imaginations by producing an eclectic season of professional productions across two mainstages, through engaging community programs, and with inspiring education programs. Everything we do at Baltimore Center Stage is led by our core values—chief among them being access for all. Our mission is heavily rooted in providing active and open accessibility for everyone, regardless of any and all barriers, to our mainstage performances, education initiatives, and community programming.

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(Black PR Wire) NEW YORK─(BUSINESS WIRE)─Essence Communications Inc. announces the highly anticipated return of ESSENCE Fashion House™ and the annual Best in Black Fashion Awards during New York Fashion Week (NYFW) from September 7-8, 2023, hosted by TV personality and actress Chasity Saunders. This year’s ESSENCE Fashion House™ will celebrate the creative potential of fashion as embodied in “The Garment” – an essential medium for individuals to express their unique personalities, cultural heritage, and personal style. The experience is designed as the ultimate landing place for Black creatives to gather during NYFW, shining a light on Black designers and talent.

On Thursday, September 7, 2023, the 2023 ESSENCE Fashion House™ will host the Best in Black Fashion Awards, an invitation-only event, honoring visionaries, and innovators in the fashion industry. This year’s awards ceremony will honor and recognize industry leading Black designers and creatives including:

● ESSENCE Magazine September/October 2023 cover star, Sergio Hudson – Designer of The Year
● Brandice Daniel – Impact Award of The Year
● Antoine Gregory – Emerging Creative of The Year
● Carlos Nazario – Stylist of The Year
● And additional honorees to be announced on Tuesday, September 5th on ESSENCE.com!

“The audacity of operating in personal purpose brings with it a vulnerability and obligation to operate courageously in surrender of self-preservation, with the fear of external intrusion, and intertwined with the intimacy of intuition. Therefore, those that choose the path of purpose in service of all of us, must be
indignantly insulated, to deliver at their best. The word ‘fashion’ is often misunderstood as what we display aesthetically, however authentically it is the armor that sustains us in the battle to move mindsets and moments forward. This underrated truth makes ‘The Garment’ the most accurate and potent weapon in the toolkit of the gladiators who proactively proclaim victory in perpetuity through the pursuit of their purpose, and we are proud to illuminate the gladiators that curate the garments that accelerate our quest to conquer
each day,” says Caroline Wanga, President & CEO of Essence Ventures.

ESSENCE Fashion House™ is dedicated to celebrating the influence that Black has on culture, while also igniting the Black fashion community, as well as the fashion experience for Black consumers. This experience provides the necessary tools for Black-owned brands and Black creatives to thrive in the space they were
born to be in. The fashion industry at large has not historically been a place where Black designers and talent could succeed at the highest levels. Happening during one of the most pivotal weeks in the fashion world, ESSENCE Fashion House™ offers attendees an opportunity to gather, learn, and be inspired, encouraged, and discovered.

On Friday, September 8th, the annual fashion event will include key industry leaders, fashion icons, unsung heroes, models and more that continue to break the mold and forge the path for Black people in the fashion industry:

● Hip Hop, “Haute” Sh*t, & Heritage: The Best of Bed Fellows featuring Caroline Wanga (President & CEO of Essence Ventures)
● Navigating Mental Health And Wellness Behind The Scenes In Fashion with moderator Devine Blacksher (ESSENCE Magazine Senior Fashion Editor) and panelists Jamilah Davis (Vice President of Fashion at Saks 5th Avenue), Devan Wallace (Senior Public Relations at Louis Vuitton)
● What is Sustainability in Black Fashion with the House of Aama moderated by Recho Omondi (Designer, Creator & Podcast Host)
● African Fashion and Garments with Kwaku Bediako (Ghanaian Fashion Designer and founder of Chocolate Clothing), Barkue Tubman Zawolo (Essence Ventures Chief of Staff & Diasporic Engagement) and Amira Rasool (Founder & CEO of TheFolklore) moderated by Nana Agyemang (Founder & CEO of EveryStylishGirl and EveryStylishGirl Biz)
● Are Black People Buying Black Luxury with Sherri McMullen (Founder of McMullen), Tia Adeola (Fashion Designer) and Bernard James (Jewelry Designer & Founder of Bernard James)
● SOKO MRKT, a retail pop up of the emerging & established Black designers
● And more!

The 2023 ESSENCE Fashion House™ is sponsored by Diet Coke®, JCPenney® and smartwater® alkaline. This year’s annual event will be open to the public and will include a day of panels, sponsored activations, immersive art experiences, and a Black-owned designer retail market. Attendees can register to attend the 2023 ESSENCE Fashion House™ and learn more at ESSENCE.com/FashionHouse2023, which will also be available for virtual attendees at ESSENCE.com.

ABOUT ESSENCE COMMUNICATIONS, INC.

Essence Communications Inc. is the number one—and only 100% Black-owned—media, technology and commerce company at scale dedicated to Black women and communities. With a community of more than 31 million Black women, ESSENCE inspires a global audience through diverse storytelling and immersive
original content rooted in Culture, Equity and Celebration. The brand’s multi-platform presence in publishing, experiential and online encompasses its namesake magazine; digital, video and social platforms; television specials; books; and signature live events, including Black Women in Music, Black Women in Hollywood, ESSENCE Black Women in Sports, Fashion House, Street Style and the ESSENCE Festival of Culture™.

Source: Essence Communications Inc.

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By Ericka Alston Buck

If you live in the region and have been void of opportunities to dress up in your most creative, over-the-top artistic expression; while connecting with visual artists with absolute masterpieces on display; while devouring some of the best culinary art, prepared by our top Black chefs; with an opportunity to give back and support local nonprofits all while taking in a spectacular curated fashion show with over 100 models and missed the 2nd Annual Baltimore MET Gala on Aug. 26, then you missed an extraordinary experience.

The event amplifies the importance of the fundraising and philanthropy efforts in Baltimore. The Baltimore MET Gala was founded on the merits of service by Larian Finney and Derrick Chase.

“The core mission and major fabric of our team culture is being of service,” said Finney. 

On Aug. 26, every attendee had the opportunity to celebrate, honor and  recognize individuals and corporations that intentionally impact components critical to a thriving city–economic empowerment, community development, strong families, federal and city collaboration and a thriving arts scene.

Fundraising for this year’s non-profit, Park Heights Renaissance was a seamless continuation of the event’s mission.

In true Met Gala fashion, this year’s theme was “The Elements, Fire, Water, Air & Earth.”

There was so much thought and intentionality put forth by everyone in attendance to showcase their individual interpretation of each element; I chose Fire.

The venue was amazing. The Baltimore MET Gala was the first event held in the new three-story, $20 million M&T Bank Exchange events space. Organizers made perfect use of the entire space from the interactive and engaging live performances and models that welcomed us out front, to the vivid colorful “red” carpet clad with over 50 cameras and the paparazzi experience that left all of us feeling like royal, celebrated, superstars!

Upon entering we were awed by the genius art installations curated by Ernest Shaw  and A. DeVeaux.

With the unflattering headlines that normally plague us as a city, The Baltimore MET Gala was truly an experience that allowed you to escape all negativity and bask in the beautiful positivity that was a collaborative effort made by ticket holders, artists, models and organizers.

I knew after attending the inaugural event last year that I’d never miss it. I’d now consider the Baltimore MET Gala a premier, must attend annual event that is now a staple for me and any other lovers of fashion, art, food and philanthropy. The Gala did not miss a beat.

The VIP reception and seating was a reunion and gathering of our elected officials, honorees, those that lead agencies and communities making tremendous impact in our city, and Baltimore’s who’s who.

The fashion show, curated by Lana Rae and Earle Banister did not disappoint. Local designers, including Jody Davis, showed up and showed out with breathtaking designs on Baltimore’s most beautiful models.

I’m a little biased as my daughter, Akcire ‘Kiri’ Alston Buck graced the runway again this year while also being the face of the MET Gala, towering over Charles Street near Penn Station on a “mile high” billboard, distracting drivers and enticing onlookers to purchase tickets.

The Baltimore MET Gala represents what’s great and amazing about Baltimore and allows you to give back, honor others, eat great food, experience art and look amazing doing it! 

I’m already excited for next year, see you at The Baltimore MET Gala 2024! 

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We’re celebrating all of the good news happening and the inspiring Black folk creating positive change in our communities.

by Word In Black

2022 was a *wild* year. Book bans swept the country, the U.S. The Supreme Court struck down Roe v. Wade, and 10 Black people were tragically gunned down in a grocery store in Buffalo, New York. 

But there was also plenty to celebrate in the Black community. Justice Ketanji Brown Jackson became the first Black woman to be confirmed to the U.S. Supreme Court, Brittney Griner came home to her family, and the Emmett Till Anti-Lynching Act finally passed. 

Knowing that, even in hard times, our community members were fighting — and winning! — battles for racial justice and equity gives us hope. That’s why we’ll keep turning the spotlight on the organizations and people working to create positive change. We’ll update this list periodically with all the good news happening to Black folks in 2023. 

1. Family Sells Bruce’s Beach for $20M. After being stolen in 1924, a Manhattan beachfront property was returned to the descendants of Willa and Charles Bruce as an act of reparations in 2022. Now, they are selling the property back to Los Angeles County. 

2. You can stream The 1619 Project. The Pulitzer Prize-winning work The 1619 Project exists as a news series, a book, and now a show on Hulu. Nikole Hannah-Jones’ longform work will be told in a six-part docu-series of the same name.

3. A historic deal and better food in Houston’s airport. LaTrelle’s, a Black-owned and family-led restaurateur firm, recently inked a $334 million contract for a space in the William P. Hobby Airport. The funds go toward the renovation and revitalization of the airport’s dining hub. 

4. Sticking the landing. Fisk University made history as the first HBCU to compete in NCAA gymnastics. Morgan Price, their five-star recruit, was the team’s strongest performer in all four events.

5. Well-deserved flowers. The Recording Academy announced The Supremes and Slick Rick will receive Lifetime Achievement Awards at this year’s GRAMMYs ceremony in February.

6. A sweet reunion. Cleveland Cavalier guard Donovan Mitchell reunited with a special fan. Before he was traded and played in Louisville, Josh waited for Mitchell outside the arena after every game for five years. The two got to hug again for the first time since Mitchell was traded.

7. A one stop Black-owned business shop. The D.C. area is now home to a strip mall made of entirely Black-owned businesses. When Angel Gregorio opened her new spice shop, she invited others to join her, ultimately transforming a 7,500 square foot space into a one-stop-shop for local Black-owned businesses, called Black And Forth.

8. Doctors in the making. Morgan State University is the first HBCU in 45 years to open a medical school. The new school will be in partnership with Ascension Saint Agnes Hospital, and it aims to open doors in 2024.

9. Puzzle practice. Test your knowledge of the Black diaspora with Black Crossword, a free mini crossword puzzle made of terms and clues from the diaspora. New puzzles are released daily.

Play today’s puzzle here:

http://blackcrossword.com

10. Never stop exploring. Now 78, J.R. Harris hasn’t stopped exploring since 1966. He hikes mountains, goes river rafting, travels to remote villages across the globe — and he visits elementary schools to encourage kids to follow their dreams.

11. Need renovations. After years of walking past a portrait of likely enslaver Cecilus Calvert in Maryland’s Senate building in Annapolis, Sen. William C. Smith Jr. had enough. He began a project to get that painting taken down, and it was replaced by a painting of Baltimore’s Thurgood Marshall, created by West Baltimore artist Ernest Shaw Jr.

12. Mayoral power. For the first time in history, four of the largest cities in the United States are being led by Black mayors. New York, Los Angeles, Chicago, and Houston all have Black leaders in the mayoral office.

13. The kids are alright. National Spelling Bee champion Zaila Avant-garde won our hearts in 2021, and this year she plans to publish two children’s books. The first is a non-fiction title called “It’s Not Bragging If It’s True: How to Be Awesome in Life,” which is due May 2, and the second is a second picture book called “Words of Wonder from Z to A,” which is set for a June publication.

14. It’s time to spout off. Entrepreneur Christopher Bouzy announced the next evolution of social media, which is set to launch on the first day of Black History Month. Called Spoutible, it will be a Black-owned alternative to Twitter.

15. A shining star. Figure skater Starr Andrews, 21, became the first Black woman to medal at the U.S. nationals in 35 years. She earned fourth place — the pewter medal — and stood on the podium, flowers in hand, with the other top finishers. 

16. A future scientist. Bobbi Wilson, 9, was honored by Yale University for her efforts to eradicate the invasive spotted lanternfly species from her neighborhood. In October 2022, Bobbi was racially profiled while collecting lanternflies with a homemade repellent. The incident garnered national news attention, and Bobbi was invited to Yale to meet with other Black women scientists. 

17. The future of STEM. David Balogun, a 9-year-old in Pennsylvania, graduated high school. He loves science and computer programming, and he wants to be an astrophysicist to study black holes and supernovas.

18. In the record books. During this year’s Super Bowl, ASL interpreter Justina Miles became the first Black deaf woman to perform at the big game. She performed “Lift Every Voice and Sing” with Sheryl Lee Ralph during the pre-game, and, of course, with Rihanna during the halftime show.

19. It’s all going swimmingly. The Howard University men’s swimming and diving team, the nation’s only all-Black swim team, won the Northeast Conference championship, which was the team’s first conference title in 34 years. Separately, the team was also the first from an HBCU to be featured on the cover of Sports Illustrated. 

20. College bound! Amir Staten found out he was accepted to Morehouse College — and he couldn’t contain his excitement. His mother, Karlynne Staten, took a video of him running up and down a street in his native Philadelphia, cheering and jumping in celebration. The video quickly went viral. Congratulations, Amir!

21. Electing history. Dawanna Witt was elected as the Hennepin County sheriff, making her the first Black woman to ever hold the position. Witt campaigned on her 22 years of experience in law enforcement. 

22. Recognizing a superhero. Ruth Carter won an Oscar for costume design for “Black Panther: Wakanda Forever.” She is the first Black woman to win multiple Oscars. Congratulations, Ruth!

23. Get reading! California’s Pasadena got its first Black-owned bookstore. Octavia’s Bookshelf opened in February 2023, and the Black- and woman-owned independent shop will highlight BIPOC authors.

24. Queen Brandy. Now 26 years after her groundbreaking performance as the first Black Cinderella, singer and actress Brandy is reprising her role. This time, though, she’ll be Queen Cinderella in the new Disney movie “Descendants: The Rise of Red.”

25. Writing history. Leroy Chapman Jr. was named editor of The Atlanta Journal-Constitution, making him the first Black person to head the paper in its 155-year history. Congratulations, Editor Leroy!

26. 50 and counting! Atlanta-area senior Daya Brown has been accepted to more than 50 colleges, wracking up over $1.3 million in scholarships. The Westlake High School Student Body President will attend Duke University in the fall. Congratulations, Daya!

27. Proving the impossible. Two New Orleans-area teens made an “impossible” math discovery, outsmarting all mathematicians from the last 2,000 years. During a presentation at the American Mathematical Society’s Annual Southeastern Conference, high school students Calcea Johnson and Ne’Kiya Jackson proved the Pythagorean Theorem does not require circular logic.

28. Honoring a legend. Maryland’s Bowie State University unveiled the Dionne Warwick Theater, and the namesake was in attendance for the event. It was the first performing arts venue named in her honor.   

29. Out of this world! NASA announced its group of astronauts that will head to the moon late next year, the first group to do so in 50 years — and Victor Glover, a Black naval aviator, will be in the crew. Glover will be making a return to outer space, as he previously lived on the International Space Station.

30. Put on your dancing shoes. TODAY Show anchor Sheinelle Jones rang in her 45th birthday by fulfilling a childhood dream of being a backup dancer for Janet Jackson. Jones previously dressed up as Jackson for Halloween in 2019.

31. Marvel-ous to meet you. During a trip to Disneyland, a young boy couldn’t contain his excitement when he saw Captain America, who then descended Avengers Headquarters to meet the young fan and teach him some powerful poses. 

32. Rolling in acceptances. Dennis Barnes, a New Orleans-area senior, broke U.S. records when he was accepted to 125 colleges and received more than $9 million in scholarships. Your future is bright, Dennis!

33. Books can change lives. Mahogany Bookstore, a Black owned bookstore located in Washington, D.C., donated over a 100 new books to detainees in Maryland — because “Those behind bars deserve access to books too.”

34. Missy Elliott will officially be inducted into the Rock and Roll Hall of Fame! The Virginia-native MC will be the first woman in rap to be included. Congrats, Missy!

35. Break out the dictionary — the new one. Harvard University scholar Henry Louis Gates Jr. is editing the first ever Oxford Dictionary of African American English, set to publish in March 2025. The full list of 1,000 definitions is still under wraps, but 10 entries were released, including bussin, kitchen, and pat. 

36. Game on! Tiana is a 12-year-old aspiring sports reporter. Business card in hand, the budding journalist watched a WNBA game court side with her future colleagues. Great work, Tiana!

37. Funding futures. Late philanthropist Jacqueline Avant has a new piece to her legacy: The Jacqueline Avant Children and Family Center. The Los Angeles center provides physical and mental health services to underserved youth. Thank you, Jacqueline!

38. For the culture. Want to see more Black-made and Black-featured TV shows and movies? Enter Mansa, a free-streaming service that offers a curated selection of global Black culture. Get the popcorn ready!

39. Professor Abrams. Activist, author, former gubernatorial candidate — and now professor. Stacey Abrams will join Howard University in fall 2023 as the inaugural Ronald W. Walters Endowed Chair for Race and Black Politics. Where do we sign up?

40. Archiving history. A partnership between the HBCU Library Alliance and Harvard University will help HBCUs digitize their libraries, ultimately preserving massive African American history collections held in HBCU libraries and archives nationwide. 

41. Way to go, Alexis! Serena Williams’ daughter Alexis Olympia Ohanian, Jr, is now the youngest owner of two sports teams. At just five years old, Oymipia is reportedly a part-owner of the women’s soccer team Angel City FC and The Los Angeles Golf Club.

42. If it’s Sunday… Kristen Welker, a prominent NBC News journalist, will soon be the host of the popular Sunday show “Meet the Press.” Welker will be the second woman and first Black journalist to moderate the show. Congratulations, Kristen!

43. Cemented in history. Long overdue, Tupac Shakur finally got his star on the Hollywood Walk of Fame. His sister Sekyiwa “Set” Shakur accepted the star on his behalf.

44. Big moves. Maj. Gen. Janeen Birckhead became the sole Black woman National Guard leader. Maj. Gen. Birckhead is now the top military official in Maryland and was appointed by the country’s only Black governor, Wes Moore. Thank you for your service!

45. Reading hero. LeVar Burton is celebrating 40 years of Reading Rainbow. The iconic PBS show first aired in June 1983, and filmed 155 episodes across 21 seasons. Thank you, LeVar!

46. Visibility matters. The Recording Academy announced three new categories for the 66th GRAMMY Awards, and one is Best African Music Performance. We’re so excited to see, hear, and celebrate all of the nominees.

47. Something’s cookin’. Ebony magazine’s vintage test kitchen just found its new permanent home: The National Museum of African American History and Culture. It was at risk of demolition in 2018, and now museum-goers will be able to see (and almost taste) the iconic set.

48. Unvarnished history. The first International African American History Museum opened its doors in Charleston, South Carolina. The museum is built on sacred ground — Gadsden’s Wharf, where an estimated 45% of enslaved Africans entered the United States. Plan your visit soon!

49. Lifesavers. Damar Hamlin, the Buffalo Bills football player who went into cardiac arrest during a game, presented the team’s training staff with the Pat Tillman Award for Service at the 2023 ESPYS for their life-saving actions.

50. Funding clean futures. Through her firm Public Ventures, Zoey Dash McKenzie launched a $100 million impact fund to invest in founders who want to save Black communities from climate change.

51. Better, not back. Two years after being suspended for a violation — and losing the chance to compete at the Tokyo Olympics — track star Sha’Carri Richardson won the 100-meter title at the U.S. championships. In a post-race interview, Richardson said, “I’m not back, I’m better.”

52. Record-setter. Tennis player Christopher Eubanks didn’t win at Wimbledon, but he did set a record. He hit 321 winners in a single championship, breaking a record from the 90’s. The future is bright for the 27-year-old tennis star!

53. Money moves. Sean Tresvant is now the CEO of Taco Bell, the first Black man to hold the position in the company’s 61-year history. And we can thank him for bringing back the Mexican pizza.

55. No (re)introduction needed. The Brooklyn Public Library unveiled a surprise exhibit honoring the life and legacy of Jay-Z. It features images, art, and other artifacts from throughout his life. The exhibit coincides with the ongoing celebration for the 50th anniversary of hip-hop.

56. GOAT behavior. In her first competition two years after withdrawing from the Tokyo Olympics, Simone Biles earned first place at the Core Hydration Classic (formerly the U.S. Classic). Her score qualified her for the U.S. Championships. Welcome back, Simone!

57. Limitless. Keisha Schahaff and Anastatia Mayers are living their dreams — and breaking barriers. As members of the Virgin Galactic civilian crew heading to space, the two women will be both the first mother-daughter duo to leave the Earth’s atmosphere together and the first Caribbean astronauts in space. Turns out the sky isn’t the limit!

The post The Best Things to Happen to Black People in 2023 (So Far) appeared first on AFRO American Newspapers.

By DaQuan Lawrence
AFRO International Writer
DLawrence@afro.com

Black Futures Lab (BFL) and Black leaders recently commemorated a significant milestone, the 2023 Black Census Project, an undertaking and monumental effort that collected survey responses from Black Americans across all 50 states regarding their views on public policy. 

On Aug. 23, Angela Rye masterfully moderated a discussion that included Alicia Garza, founder of Black Futures Lab, Roland Martin, Host of #RolandMartinUnfiltered, Aria Sa’id, founder of The Transgender District, and Michael Harriot, Author of Black AF History: The Un-Whitewashed Story of America, who discussed the significance of the survey. 

Approximately 128,000 participants responded to the survey, which seeks to collect an aggregate of Black American’s opinions on U.S. policies including voting rights, education, abortion, housing, criminal justice reform, tax laws that impact businesses and more. 

“We launched the first Black census in 2018 because we know that if you want to take a pulse on what’s happening with the country at large, you have to listen to and be responsive to Black communities,” said Garza, the founder of Black Futures Lab. 

Black Futures Lab works with Black people to transform their communities, build Black political power, and change the way that power operates locally, statewide and nationally. The organization seeks to understand the dynamics impacting Black communities and engages the Black community in the decisions that impact their lives. 

BFL’s initial Black Census Project was conducted in 2018 and surveyed over 30,000 Black people throughout the U.S. on their political beliefs, views, concerns and aspirations. The first Black Census was considered the largest survey of Black people conducted in the United States since Reconstruction, and the 2023 report is now believed to be four times the size of the 2018 Black Census, and the largest exclusive survey of Black people in American history.

“This charts a pathway for us to be specific about the issues and allows us to be able to challenge political leaders. We have to connect the dots for our people,” Martin said. 

“Putting this survey in the hands of our people enables us to hold elected officials accountable, and to mobilize the public,” he continued. 

During the briefing, media attendees viewed the initial findings of Black attitudes and opinions across demographics and geography, including LGBTQIA communities, incarcerated Black people, Black immigrant communities and Black people in rural areas. 

“Race is being attacked from many different angles and in history the U.S. has been very good at the activation of amnesia, and the way that power is organized in this country,” Garza said during the virtual press briefing.  

“Attacks on African American Studies because if you study the contributions of Black people in this country, you expose something that we don’t actually want you to see,” she continued. 

Data from the Black Census will encourage Black communities to stay engaged and wield political power to inform, influence, and impact all institutions and decision-makers who are or should be engaging Black people. 

The Black Census is used to design the Black Agenda 2024, a policy road map which informs legislators across the nation of the key priorities of Black communities across America. The Black Agenda 2024 will be used to activate and engage Black voters in advance of elections.

“Anti-trans legislation is building in the U.S., and we know anecdotally that Black trans-people are often impacted severely and immediately,” Aria Sa’id, founder-emeritus of the Transgender District, said during the convening. 

The mission of the San Francisco-based Transgender District is to create an urban environment that fosters the rich history, culture, legacy and empowerment of transgender people and its deep roots in the southeastern Tenderloin neighborhood.

“Especially in a climate where there’s so much anti-trans rhetoric, bigotry and prejudice towards queer and trans people” Sa’id continued. 

“This project was really important to be a part of because it allowed us to be explicit on our needs as a community, as trans communities are labeled ‘other’ within data and in the Black community” she concluded. 

During the briefing the panelists raised the importance of dispelling many myths that politically motivated and propagated by media reporting that is ultimately disadvantageous to the Black community. An example of such a notion is the idea that Black men have not participated in elections at a high rate.

“If we’re ever using a narrative, we have to remind people that on the Democratic side, Black women are the number one voting bloc and Black men are number two” Martin said.

“We have to continue to say ‘thank you’ to Black men for participating at similar rates that Black women participate. Please stay on message and stay on course,” Garza said during the virtual briefing.  

“If we stick together, we have to actually keep refusing to promote those messages that ‘Black men are going to be the reason that Democrats lose the election’. That just has not been true,” Garza explained. 

Another issue and misreported myth that impacts the upcoming elections that was raised was the idea that Black men are vacating the Democratic Party for the Republican Party. With the Republican Party presidential debates taking place on the same night as the press briefing, political clarifications are important to inform voters in the upcoming elections. 

“This narrative of Black male voters kind of swept into the GOPis a function of voter participation,” said historian and author, Harriot.  

“The unwillingness to report facts complicates this narrative when we examine this idea of Black men shifting to the GOP, without talking about stuff like felony disenfranchisement, voter suppression in the south and where Black people vote,” Harriot said. 

“When you leave that out and reports as if the GOP has this great plan that are magnetizing Black men toward the GOP, it is really not true and it’s irresponsible,” he concluded.

The post Black Futures Lab Conducts highest Census of Blacks in U.S. in history appeared first on AFRO American Newspapers.

By Andew Dalton
AP Entertainment Writer

LOS ANGELES (AP) — Ron Cephas Jones, a veteran stage actor who won two Emmy Awards for his role as a long-lost father who finds redemption on the NBC television drama series “This Is Us,” has died at age 66, a representative said Aug. 19.

Jones’ manager, Dan Spilo, said in an emailed statement the actor died “due to a long-standing pulmonary issue.”

“Throughout the course of his career, his warmth, beauty, generosity, kindness and heart were felt by anyone who had the good fortune of knowing him,” Spilo said.

Jones had a double lung transplant in 2020 because of chronic obstructive pulmonary disease and spent nearly two months in a Los Angeles hospital.

On “This Is Us,” Jones played William “Shakespeare” Hill, a biological father whose life is renewed through his relationship with the family of his son Randall Pearson, played by Sterling K. Brown.

“One of the most wonderful people the world has ever seen is no longer with us,” Brown said in an Instagram post after Jones’ death. “The world is a little less bright. Brother, you are loved. And you will be missed.”

Jones played a more central role in the series’ early seasons, but appeared in some form in all six seasons of the show, which included time-jumping narratives offering recurring opportunities for its actors even after their characters’ deaths.

Jones won Emmys for best guest actor in a drama series in 2018 and 2020 and was nominated for two more.

“Ron was the best of the best — on screen, on stage, and in real life,” “This Is Us” creator Dan Fogelman said on X, the social media site formerly known as Twitter. “My God: what an actor. I don’t think I ever changed a single take of his in a cut because everything he did was perfect.”

Jones spent most of his career in the theater before and after “This Is Us,” returning to Broadway even after his transplant forced him to learn to breathe and walk again.

“My whole life has been the stage,” Jones said in a late 2021 interview with the The New York Times, in which he revealed he had quietly been suffering from respiratory problems since about the time he began on “This Is Us.”

“The idea of not performing again seemed worse to me than death,” Jones said.

He was nominated for a Tony Award and won a 2022 Drama Desk Award for the Broadway role as a truck-stop cook in playwright Lynn Nottage’s “Clyde’s.”

A native of Paterson, N.J., Jones graduated from nearby Ramapo College, where he had intended to study jazz but switched to theater during his sophomore year. He spent the late 1970s and early 1980s traveling the country, working as a bus driver in Southern California for several years.

In the mid 1980s he moved to New York, where his career got a jumpstart when he began hanging out and collaborating at the Nuyorican Poets Café, a vital creative hub for poetry, hip-hop and the performing arts.

A breakout role came in 1994, when he landed the lead in playwright Cheryl West’s drama, “Holiday Heart.”

He would spend the ensuing decades constantly in the theater, often in Off Broadway plays in New York, including a title turn as Shakespeare’s “Richard III” at The Public Theater, and in roles with the Steppenwolf Theatre Company in Chicago.

Jones also had TV guest stints on “Mr. Robot,” “Luke Cage” and “Lisey’s Story.”

His film appearances included 2006’s “Half Nelson” with Ryan Gosling and 2019’s “Dolemite Is My Name” with Eddie Murphy.

He is survived by his daughter, Jasmine Cephas Jones.

The post Ron Cephas Jones, ‘This Is Us’ actor who won 2 Emmys, dies at 66 appeared first on AFRO American Newspapers.

By AFRO Staff

The year is 1992 and Michael Jackson (MJ) is on the precipice of shocking the world with his Dangerous Tour— that’s if he can get it off the ground. 

From financial woes to childhood trauma, a myriad of challenges face the global pop star as he tries to mount the show that is set to be performed on four continents. 

Will MJ find the sound, the look and the feel he’s yearning for audiences to experience? Will the nightmares of his past keep him from realizing the potential of his future? And what about those pills? 

All of these questions and more are staring down the King of Pop in the new musical, “MJ.”  Complete with top-tier choreography, lighting and sound, the musical is directed and choreographed by Christopher Wheeldon.

Elijah Rhea Johnson delivers a riveting performance as Michael Jackson in his adult years, striving to push boundaries and maintain his idea of perfection in the ever demanding show business industry. 

Johnson spoke with the AFRO about how he prepared for the role and the importance of Black actors on Broadway shortly after his matinee performance on Aug.12. 

“It was a lot of research and a lot of looking at archival footage of Michael,” said Johnson. “I was studying his music, but honestly,  I’ve been singing and dancing — and Michael is the reason I started at age 8 or 9. A lot of the groundwork was done throughout my childhood.”

Johnson spoke on why it was important to have Black creatives on the stages of Broadway. 

“We’re here and we have stories. Now, we are getting the opportunity to show that more,” said Johnson. “We are as good as anybody else and we have stories worth telling.”

“MJ” offers an exhilarating tour down memory lane inside of the Neil Simon Theatre in New York City every night of the week, excluding Monday. 

Johnson nails the smooth falsetto of Michael Jackson with a moonwalk that is even smoother. 

The show includes high-energy numbers like “Smooth Criminal,” “Billie Jean” and of course “Thriller,” while weaving in and out of the past with new renditions of old Jackson 5 hits, like the “I’ll Be There” duet performed by Bane Griffith and Ayana Jackson, in the roles of Little Michael and Katherine Jackson, respectively. 

While the play does not address the scandals brought on by allegations of sex abuse or fully delve into the drug use that would ultimately claim his life, the musical does show the fateful Jan. 27, 1984 stage accident that left the superstar with second and third degree burns and years of pain. It also shows how MJ dealt with years of emotional and even physical abuse at the hands of his father, Joe Jackson. 

The four time Tony award winning show opened to the public in February 2022 and has garnered national attention since that time. Though Johnson is currently in the role of Michael Jackson, when the show debuted last year, D.C native and Bowie State University student Myles Frost dazzled audiences and garnered the 2022 Tony for Best Actor in a Musical. 

Though Frost is no longer wowing American audience members, he will reprise the role of MJ when the show opens in London next year. 

Previews for the London showing of MJ begin March 6, 2024. In the United States, the traveling cast of MJ already hit the road, starting this month. Tickets for the Broadway version of the show in New York  are currently on sale through Jan. 21, 2024. 

Antoine L. Smith, who played the roles of Rob and Joseph Jackson on Aug.12 is from Gary, Ind., which Michael Jackson and his family also called home. 

“Being from Gary, Ind., he is a hometown idol,” said Smith. 

“MJ” is Smith’s sixth show on Broadway, and he spoke with the AFRO about being Black on “The Great White Way.”

“As people always say, representation matters,” said Smith. “The more that we see ourselves— the more we understand that we can do this.” Smith told the AFRO this is especially true for young people who are exposed to the stage. 

Amiera Wilson, a 14-year-old dancer from Baltimore, told the AFRO the musical gave her a different view of the world renowned superstar. She also thoroughly enjoyed the choreography routines on display.

“It shows the ups and downs of Michael Jackson,” said Wilson. “I think it’s very unique. The play is mixed with modern and jazz style and it’s very interesting to watch.”

“I’ve always been inspired by seeing Black dancers on stage, being able to express themselves with movement,” she continued. “Black people don’t get as many opportunities as other people do because of the color of their skin.”

Audience members of all ages packed out the theatre house to enjoy the moonwalks and classic sounds of what could have easily been a real, live MJ show. 

Mamie Thomas, 91, of Brooklyn, New York was surprised by her daughter, Regina Mugo, with birthday tickets to the show. The show had special meaning for Thomas, who said her late son was a Michael Jackson fan.

“I lost a son who loves to dance,” said Thomas. “I was waiting for “Thriller” and “Beat It” because my son, who died some 20 odd years ago, liked it.” 

“I was very fascinated— it was beautiful,” Thomas told the AFRO, standing outside of the theatre immediately after the show. “As you grow older you learn to appreciate what goes into theatre. I can appreciate the stage, the preparation of the stage and the lighting.” 

The post Black on Broadway: a look at the African-American creatives bringing Black stories to the ‘Great White Way’ appeared first on AFRO American Newspapers.

By Rio Yamat and Ken Ritter
The Associated Press

LAS VEGAS (AP) — A home that Las Vegas police raided this week in connection with the 1996 drive-by shooting of Tupac Shakur is tied to one of the only surviving witnesses to the crime, a man long known to investigators whose nephew was seen as a suspect shortly after the rapper’s killing.

Detectives sought items “concerning the murder of Tupac Shakur” from Duane “Keffe D” Davis, according to warrant documents obtained July 20 by The Associated Press.

Davis, now 60, is a self-described “gangster” and the uncle of Orlando “Baby Lane” Anderson, one of Shakur’s known rivals. Anderson denied involvement in Shakur’s killing, and died two years later in a shooting in Compton, California.

Police reported collecting multiple computers, a cellphone and hard drive, “documentary documents,” a Vibe magazine that featured Shakur, “purported marijuana,” several .40-caliber bullets, two “tubs containing photographs” and a copy of Davis’ 2019 tell-all memoir, “Compton Street Legend.”

The Las Vegas Metropolitan Police Department confirmed it served a search warrant July 17 in the neighboring city of Henderson. The department hasn’t said whether investigators expect to make a first-ever arrest in the slaying of the rapper nearly 27 years ago.

Residents of the neighborhood in foothills about 20 miles (32 kilometers) southeast of the Las Vegas Strip said they saw officers detain two people outside the home the night of July 17 while investigators searched the one-story property.

“There were cruisers and SWAT vehicles. They had lights shining on the house,” said Don Sansouci, who watched from the sidewalk as a man and a woman stepped out of a house to bullhorn commands, placed their hands behind their heads and slowly walked backwards toward officers amid a swirl of blue and red police lights.

The case is being presented to a grand jury in Las Vegas, according to a person with direct knowledge of the investigation who was not authorized to speak publicly. The timing and results of those proceedings was unclear, and the person did not identify the two people whom police encountered at the house.

It was not immediately known if Davis has a lawyer who can comment on his behalf. Messages left for Davis and his wife, Paula Clemons, weren’t returned. Records show the two were married in Clark County, Nevada, in 2005.

News of the search breathed new life into Shakur’s long-unsolved killing, which has been surrounded by conspiracy theories. There has never been any arrest and attention on the case has endured for decades.

“I’m one of the only living eyewitnesses to Tupac’s killing, who also knows the much larger story around the reasons why both Tupac and Biggie were killed,” Davis wrote in the memoir, referring also to the 1997 killing of rapper “Biggie Smalls,” also known as “Notorious B.I.G.”

Shakur’s death came as his fourth solo album, “All Eyez on Me,” remained on the charts, with some 5 million copies sold. Nominated six times for a Grammy Award, Shakur is largely considered one of the most influential and versatile rappers of all time.

On the night of Sept. 7, 1996, Shakur was riding in a black BMW driven by Death Row Records founder Marion “Suge” Knight in a convoy of about 10 cars. They were waiting at a red light a block from the Las Vegas Strip when a white Cadillac pulled up next to them and gunfire erupted. Shakur was shot multiple times and died days later.

Knight, now 58, was wounded but recovered. He was sentenced in October 2018 to 28 years in prison for running over a man with his pickup truck, killing him, in a Compton burger stand parking lot in January 2015.

The Shakur shooting unfolded shortly after a casino brawl earlier in the evening involving Anderson, Shakur and their associates.

There were many witnesses, but the investigation stalled because people refused to cooperate, Las Vegas police said in the past.

That silence broke, to a point, in 2018, when Davis — saying he was ready to speak publicly after a cancer diagnosis — admitted to being in the front seat of the Cadillac. In an interview for a BET show, he implicated his nephew in the shooting, saying Anderson was one of two people in the backseat.

Davis said the shots were fired from the back of the car, though he stopped short of naming the shooter, saying he had to abide by the “code of the streets.”

But in his memoir, Davis said he shared what he knew nearly a decade earlier in a closed-door meeting with federal and local authorities who were investigating the possibility that Shakur’s slaying was linked to B.I.G.’s death.

“They offered to let me go for running a ‘criminal enterprise’ and numerous alleged murders for the truth about the Tupac and Biggie murders,” Davis, who was 46 at the time, said in his book. “They promised they would shred the indictment and stop the grand jury if I helped them out.”

At the time of their deaths, Shakur and B.I.G. were involved in the infamous East Coast-West Coast rivalry that primarily defined the hip-hop scene during the mid-1990s. The feud was ignited after Shakur was seriously wounded in another shooting during a robbery in the lobby of a midtown Manhattan hotel.

Shakur openly accused B.I.G. and Sean “Diddy” Combs of having prior knowledge of the shooting in New York, which both vehemently denied. It sparked a serious divide within the hip-hop community and among fans.

In the memoir, Davis wrote that he finally decided to tell authorities in 2010 what he knew of the Shakur and B.I.G. killings to protect himself as well as 48 of his associates involved in the Southside Compton Crips gang from what might have been sentences of life in prison.

“I sang because they promised I would not be prosecuted,” Davis said, adding that he thought they were lying about the deal. “But they kept their word and stopped the indictment, tore up the whole case. Nobody went to jail.”

It’s unclear if Davis was at the Henderson home when officers descended on the property. Las Vegas court records show he has been sought on an arrest warrant since July 2022, when he failed to appear in court on a drug charge.

____

Associated Press researcher Rhonda Shafner in New York contributed to this report.

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By Ken Miller.
The Associated Press

Academy Award winning actor, singer and comedian Jamie Foxx said in an Instagram video that he is recovering from an undisclosed medical condition and thanked well-wishers for their support.

“I went to hell and back, and my road to recovery has some potholes as well, but I’m coming back,” said Foxx, appearing thin and wearing a dark pullover shirt, in the three minute, 15 second video. “I’m able to work.”

Foxx, 55, was hospitalized in April with what his daughter, Corinne Fox, described at the time as a “medical complication” and Foxx did not disclose the nature of his condition in his first public comments since being hospitalized.

“I just didn’t want you to see me like that … I didn’t want you to see me with tubes running out of me and trying to figure out if I was going to make it through,” Foxx said, thanking his daughter, sister, God and medical professionals for saving his life.

“I went through something that I thought I would never, ever go through,” Foxx said.

“Every once in a while I just burst into tears … because it’s been tough, man, I was sick … but now I’ve got my legs under me so you’re going to see me,” Foxx said.

Castmates of Foxx’s recent movie “They Cloned Tyrone” — David Alan Grier, Teyonah Parris and Tamberla Perry — told The Associated Press at the Los Angeles premiere of the movie on June 28 that they miss the star.

“Just praying that he gets better and takes whatever time he needs to heal,” Perry said.

Foxx, born Eric Marlon Bishop in 1967 in Terrell, Texas, was a stand-up comedian before breaking into television with various roles on Fox TV’s musical-comedy “In Living Color” in 1990.

Foxx won the Academy Award for best actor for his portrayal of Ray Charles in the 2004 biographical film “Ray” and a Grammy in 2010 for the song “Blame It.”

His other credits include “The Jamie Foxx Show,” “Collateral,” and “Django Unchained.”

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By Miss AJ Williams
July 23, 2023

The Barbie movie, starring Margot Robbie and Issa Rae, blazes a trail of female empowerment in cinema. In an industry often mired in stale gender stereotypes and limited portrayals of women, this bold parody challenges the status quo, turning the tables on traditional gender roles to present a world where women take center stage and lead the charge.

The movie’s premise holds the potential to upend societal power dynamics by showcasing women in positions of authority and influence. It dares to imagine a world where women lead industries, govern nations, and spearhead societal progress. Through clever humor and sharp wit, the satire becomes a powerful mirror, reflecting the regressive beliefs that persist in our contemporary reality. By daring to challenge these norms, the film entertains and sparks crucial conversations about gender equality and women’s empowerment.

America Has a Problem

Being a woman in America is a unique journey filled with both triumphs and challenges, especially in the form of self-acceptance and societal expectations. From the early stages of childhood, girls are bombarded with standards generated by a male-dominated society that can often feel contradictory and overwhelming.

In the land of opportunities, girls are told they can achieve anything they set their minds to. They are encouraged to pursue education, excel in their careers, and become independent individuals. However, alongside this message of empowerment, they are also subjected to societal pressure to fit into certain molds. The notion of “having it all” is often portrayed as the ultimate goal, but it can create an impossible standard to meet.

In the Barbie movie, America Ferrera plays Gloria, a lifetime Barbie lover and assistant to the chief executive of Mattel. In one scene, Gloria gives a passionate monologue about the contradictory expectations placed on women in America. She says:
“But it’s too hard. It’s too contradictory. You can’t be everything to everyone. And I’m just so tired of watching myself, and every single other woman, tie herself into knots so that people will like us. I’m tired of being told that I’m not good enough.”

Gloria’s monologue is a powerful and moving indictment of the unrealistic societal expectations placed on women. It is a reminder that women are constantly flooded with messages about how they should look, act, and behave. These messages can be incredibly damaging, leading to low self-esteem, anxiety, and depression.

The monologue also speaks to the importance of self-acceptance. Gloria challenges women to stop trying to be someone they’re not and to embrace their true selves. This message is more important than ever in today’s world, where social media and other media constantly bombard us with images of idealized beauty and perfection.

Critique of Patriarchal Norms

In our present day, women have made undeniable strides, shattered barriers, and proven their worth in every sphere of life. Yet, we cannot ignore the deep-rooted social constructs and biases that continue to hinder their progress. The Barbie parody lays bare the absurdity of viewing women as subservient to men, urging us to introspect and dismantle the societal limitations that continue to hold us back.

By portraying a world where men occupy traditionally feminine roles, the movie confronts ingrained biases and prompts audiences to question the very foundation of these stereotypes. It will reflect real-life experiences where women often face resistance and skepticism when they strive for leadership positions or enter male-dominated fields. This approach fosters empathy and understanding, encouraging us to dismantle stereotypes and embrace true gender equality.

The movie’s storytelling lies in its celebration of female empowerment and its unapologetic exposure of the brash, outdated themes that have long perpetuated a patriarchal society. Through clever satire and creative storytelling, the film unabashedly lays bare the toxic notions hindering progress and equality for generations. By reversing traditional gender roles, the movie boldly confronts viewers with the absurdity of the status quo, prompting introspection and calls for change.

The portrayal of men occupying traditionally feminine roles in the film is a powerful commentary on the entrenched expectations and limitations that society places upon individuals based on their gender. It challenges the stereotype that men must be stoic, dominant, and unemotional, while women are expected to be nurturing, submissive, and secondary. By turning these norms on their head, the movie reminds us that gender should not dictate one’s aspirations, talents, or worth. It urges us to break free from the suffocating molds society imposes, allowing everyone to express themselves authentically.

The movie’s fearless critique of patriarchal norms extends to the workplace, where gender inequality often rears its ugly head. By portraying women in positions of power and influence, the film exposes the systemic bias that has long prevented women from reaching the same heights as their male counterparts. It takes aim at the glass ceiling, inviting audiences to question why talented, capable women are still underrepresented in leadership roles across various industries.

A Diverse Cast to Celebrate All Women

Furthermore, the collaboration between Margot Robbie and Issa Rae, two immensely talented actresses from diverse backgrounds, reinforces the concept of intersectional feminism. It underscores the importance of inclusive representation in media, acknowledging the unique challenges women of different ethnicities, cultures, and backgrounds face. Through this collaboration, the movie exemplifies the strength of unity and solidarity among women.

The film’s director, Greta Gerwig, has said that she wanted to create a Barbie movie that would be ‘inclusive and representative of the world we live in today.’ She has also said that she wanted to challenge the traditional stereotypes associated with Barbie, such as the idea that Barbie is only for white, thin, and beautiful women.

The film’s diverse cast includes Simu Liu, Hari Nef, and Alexandra Shipp. Liu is a Chinese-Canadian actor best known for his role in the Marvel Cinematic Universe. Nef is a transgender actress in several television shows and films. Shipp is a black actress who has starred in movies such as X-Men: Apocalypse and Straight Outta Compton.

The Barbie movie’s diverse cast is a welcome change from the traditional Barbie movies, which have often been criticized for promoting unrealistic beauty standards and reinforcing gender stereotypes. The film’s diverse cast sends a powerful message to young girls that they can be anything they want, regardless of race, ethnicity, or body type.

‘Barbie’ signifies a pivotal moment in cinema—a moment where we challenge outdated norms and embrace the power of female empowerment.

About Post Author

Miss AJ Williams

AJ Williams is a Spiritual Wellness Educator, Speaker, and Author with experience in print, radio, and television. She is currently Michigan Chronicle’s Managing Editor, City.Life.Style. Editor and resident astrologer. Follow her on IG, TikTok and Twitter @MissAJWilliams — www.MissAJWilliams.com

This article was originally published by New Pittsburgh Courier

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By Jonathan Landrum Jr.
AP Entertainment Writer

LOS ANGELES (AP) — Sean “Diddy” Combs wants to strengthen the Black dollar: The music mogul is spearheading a new online marketplace called Empower Global that will specifically feature Black-owned businesses.

“I want to create our own Black Wall Street,” Combs told The Associated Press about his e-commerce platform, which launched last week. He feels passionate about building substantial wealth in his community similar to the Greenwood community, the thriving Black-owned business district in Tulsa, Oklahoma, that was decimated in a two-day attack by a White mob in Oklahoma in 1921.

Combs said he’s not looking for financial benefit after he invested $20 million into Empower Global, which allows consumers to purchase products exclusively created and sold by Black entrepreneurs.

The curated marketplace will allow consumers to purchase clothing, shoes, beauty accessories – including skin care and fragrances – and even wall art. The platform was designed and created by two Black-owned companies, TechSparq and ChatDesk.

The platform launched with 70 brands with plans to introduce new Black businesses monthly. He hopes to showcase more than 200 brands by the end of the year.

“This is about building our own infrastructure and ecosystem,” Combs said. “I’m not doing this for profit. This is about us.”

Combs said he feels more excited about launching Empower Global than before the start of his widely-popular label Bad Boy Records.

“I’m going into these areas to diversify things and fight for our inclusion. This is a platform about sharing power and empowering each other,” he said. “This is something that is for my people. It’s a tipping point for us to wake up, start paying attention and supporting each other while taking responsibility and accountability.”

Combs, who’s worked on the platform for years, said it’s important for Black people to circulate money in their own community.

“It benefits the community to empower and take care of itself,” he said. “Right now, our dollar in the Black community doesn’t even last an hour. Most other communities and ethnic groups, they understand the power of unity. Their dollars stay in their communities for days and get passed on to other people that are like them and from their same community.”

Combs said he’s accomplished his dreams of building one of hip-hop’s biggest empires, blazing a trail with several entities. He’s the founder of Bad Boy Records and a three-time Grammy winner who has worked with top-tier artists including Notorious B.I.G., Mary J. Blige, Usher, Lil Kim, Faith Evans and 112.

He created the Sean John fashion clothing line, launched Revolt TV with a focus on music and has his own vodka. He also produced the reality show “Making the Band” on MTV.

“My dreams have always been to be successful in music, being obsessed with fashion and the greatest Black serial entrepreneur to ever live,” said Combs, who along with Tyler Perry and Byron Allen is interested in purchasing the network BET. He’s also in a dispute with spirits giant Diageo after he sued the company over allegations of racism over how they handled his liquor brands. Diageo has denied Combs’ racism allegations, saying the issue is a “business dispute.”

“I’ve graduated from me to we. I’m able to use my God-given intelligence to create,” he said. “I’m passionate about the possibility of showing Black economic unity. I’m not going to stop until I’m working with the best brands, the best Black-owned digital mainstream, so we can start fueling our own economic system.”

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By Jonathan Landrum Jr.

Associated Press

An investigation into Tupac Shakur’s unsolved killing has been revived. It took nearly three decades, but a new twist came when authorities in Nevada served a search warrant this week in connection with the rap star’s shooting death, they confirmed July 18.

Here’s what to know about one of the most infamous fatal shootings in hip-hop history:

What’s new in the investigation?

Las Vegas police served a search warrant in connection to the killing of Shakur, who was gunned down Sept. 7, 1996.

Tupac Shakur receives Walk of Fame star honor in the same month as birthday

The warrant was executed Monday in the nearby city of Henderson. It’s unclear what they were looking for or where they searched.

Citing the ongoing investigation, a police spokesperson said he couldn’t provide further details on the latest development in the case, including whether a suspect has been identified.

What happened the night Shakur died?

The 25-year-old rapper was traveling in a black BMW driven by Death Row Records founder Marion “Suge” Knight in a convoy of about 10 cars, apparently headed to a nightclub, after watching Mike Tyson knock out Bruce Seldon in a championship fight at the MGM Grand. Police said no one else was in the car with them.

A white Cadillac with four men inside pulled alongside the BMW while it was stopped at a red light at an intersection near the Las Vegas Strip, and one person opened fire, riddling the passenger side of Knight’s car with bullets, police said. Sitting in the passenger seat, Shakur was shot four times, at least twice in the chest. Knight was grazed by a bullet fragment or shrapnel from the car.

Shakur was rushed to a hospital, where he died six days later.

What is the rapper’s legacy?

Shakur is one of the most prolific figures in hip-hop, also known by his stage names 2Pac and Makaveli. His professional music career only lasted five years, but he sold more than 75 million records worldwide, including the diamond-certified album “All Eyez on Me,” which was packed with hits including “California Love (Remix),” “I Ain’t Mad at Cha” and “How Do U Want It.”

Shakur has had five No. 1 albums including “Me Against the World” in 1995 and “All Eyez on Me” in 1996, along with three posthumous releases: 1996’s “The Don Killuminati: The 7 Day Theory,” 2001’s “Until the End of Time” and 2004’s “Loyal to the Game.”

The six-time Grammy-nominated artist was inducted into the Rock & Roll Hall of Fame by Snoop Dogg in 2017.

As a rising actor, Shakur starred in several popular films such as John Singleton’s “Poetic Justice” with Janet Jackson and Ernest Dickerson’s “Juice.” He also played major roles in “Gang Related” and “Above the Rim.”

In April, a five-part FX docuseries called “ Dear Mama: The Saga of Afeni and Tupac Shakur” delved into the past of the rapper’s mother, Afeni Shakur, as a female leader in the Black Panther Party, while exploring Tupac’s journey as a political visionary and becoming one of the greatest rap artists of all time.

Last month, Shakur received a posthumous star on the Hollywood Walk of Fame.

“He defied the distinction between art and activism,” said radio personality Big Boy, who emceed the ceremony.

Shakur has been remembered with museum exhibits, including “Tupac Shakur. Wake Me When I’m Free” in 2021 and “All Eyez on Me” at the Grammy Museum in 2015. He’ll soon have a stretch of an Oakland street renamed after him.

What about his biggest rivalry? 

Shakur’s death came amid his feud with rap rival the Notorious B.I.G., who was fatally shot six months later. At the time, both rappers were in the middle of the infamous East Coast-West Coast rivalry, which primarily defined the hip-hop scene during the mid-1990s.

The feud was ignited after Shakur was seriously wounded in another shooting during a robbery in the lobby of a midtown Manhattan hotel in 1994. He was shot several times and lost $40,000.

Shakur openly accused B.I.G. and Sean “Diddy” Combs of having prior knowledge of the shooting, which both vehemently denied. The shooting sparked enough of a feud that created a serious divide within the hip-hop community and fans.

The New York-born Shakur represented the West Coast after he signed with the Los Angeles-based Death Row Records. He often traded verbal jabs with New York-natives B.I.G. and Combs, who hailed from the East Coast while representing New York City-based Bad Boy Records.

Diss tracks were seemingly delivered to drive home their ferocious points across. Shakur released the aggressive single “Hit ’Em Up,” which took aim at B.I.G., who on the other hand returned with “Who Shot Ya?,” a record that was received as a taunt. However, B.I.G. claimed the song was not directed toward Shakur.

More on Shakur’s life and career

Shakur was born June 16, 1971, in New York City. He later moved to Baltimore and attended the Baltimore School for the Arts, where he began writing raps. He eventually made his way to Marin City, California, near San Francisco, and continued to write and record.

As a member of the Grammy-nominated group Digital Underground, Shakur appeared on the 1991 track “Same Song″ from ”This Is an EP Release″ and on the album “Sons of the P.″

That same year, Shakur achieved individual recognition with the album “2Pacalypse Now,″ which spawned the successful singles “Trapped” and “Brenda’s Got a Baby.”

The album, with references to police officers being killed, drew notoriety when a lawyer claimed a man accused of killing a Texas trooper had been riled up by the record. Then-Vice President Dan Quayle targeted “2Pacalypse Now″ in his 1992 battle with Hollywood over traditional values.

In 1993, Shakur followed up with the sophomore album, which produced songs ”I Get Around,” “Keep Ya Head Up″ and “Papa’z Song,″ and he was nominated for an American Music Award as best new rap hip-hop artist.

The next year he appeared with hip-hop group Thug Life on the “Above The Rim″ soundtrack and on the group’s album “Volume 1.″ In a photo on the album liner, he framed his face between his two extended middle fingers.

Over the years, Shakur had some brushes with the law. He served several months in a New York prison for sex abuse.

While in prison, Shakur indicated he was rethinking his lifestyle. He had support from Black leaders including the Rev. Jesse Jackson and the Rev. Al Sharpton, who counseled him while he was locked up.

“Thug Life to me is dead. If it’s real, let somebody else represent it, because I’m tired of it,″ Shakur told Vibe magazine. ”I represented it too much. I was Thug Life.″

Shakur was up-front about his troubled life in the 1995 release “Me Against The World,″ a multimillion-selling album that contained the ominously titled tracks ”If I Die 2Nite″ and “Death Around The Corner.″

“It ain’t easy being me. … Will I see the penitentiary, or will I stay free?″ Shakur rapped on the album, which produced the Grammy-nominated “Dear Mama″ and standout singles “So Many Tears″ and ”Temptations.″

The Las Vegas shooting occurred as Shakur’s fourth solo album, “All Eyez on Me,″ remained on the charts, with some 5 million copies sold.

This article was originally published by the Associated Press. Associated Press writer Travis Loller reported from Nashville.

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By Catherine Pugh
Special to the AFRO

The Baltimore Art Museum’s Sculpture Garden was recently the scene of  “A Midsummer Night’s Gala,” hosted by the newly appointed BMA Dorothy Wagner Wallis Director, Asma Naeem and world renowned Baltimore artist, Derrick Adams.

Adams’ works are showcased in museums throughout the world and have earned him numerous awards, including the Gordon Parks Foundation Fellowship in 2018.  His art is versatile. He paints, sculptures, creates performance videos, sound installations and collages. 

Derrick Adams, now 52 years old, left Baltimore after spending a year at the Community College of Baltimore. From there, he landed in  Brooklyn, New York, where he earned his Degree in Fine Arts at the Pratt Institute, in 1996 and an MFA from Columbia University in 2003.

Derrick Adams grew up in the Park Heights community and spoke with the AFRO about his time growing up in Charm City.

“It was different then,” he explained.  “There were families there –not the narrative that has evolved over the years with the crime rate.”

Tonya Miller, currently senior advisor  to the Mayor’s Office of Arts and Culture, has known Adams since she was 14 years old. She brought him back to Baltimore in 2019 for a city hall exhibit, said “Derrick is like the pied piper for Black artists in Baltimore.”

Adams said he started forming his nonprofit, The Last Resort Artist Retreat (TLRAR), in 2019 as a way “to keep Black artists in Baltimore.” Derrick bought the property in Waverly and the vacant lot next door.  What he often called his “summer home” became the home to TLRAR. 

Adams said that he took on the project after “studying some of the history of the city” and taking note of “the accomplishments made by others who tried to create spaces [and] opportunities for a lot of the Black citizens,” but  “somehow… fell short.” 

“Black artists  struggle to stay afloat and get support for their work and the space they need to develop,” Adams told the AFRO, recalling the good ole’ days with spaces like the Kromah Gallery, one of the only Black Art Galleries in the city that opened in 1978 and has since closed.

“I’ve been driven by the idea of creating a nonprofit that focuses on the creative community in Baltimore and the Black creative community primarily,” said Adams. 

The artist said that “growing up and hearing conversations surrounding the lack of  support [for] Black people in the Arts” was a major impetus for TLRAR. He often wondered “how much better they (Black artists) would be if they had the financial support for spaces and things that are needed for them to be successful.”  

“It is always a constant struggle for Black spaces to stay afloat because of the lack of support from federal to private funding in this particular city,” said Adams, adding that this is not the case in all cities across the country. 

To remedy the situation, Adams put his own money into the idea of creating a non-profit focused on the survival of Black artists– to the tune of “over $800,000” according to his accountant, who reports that the personal investments from Adams were put up over a three-year period. 

 “I am sad and happy that I had to do that,” Adams told the AFRO, “but I guess that was what was needed to get the attention and support of others.”

The property Adams bought and renovated in Baltimore’s Waverly community houses for TLRAR serves as a retreat and residency program focused on Black artists of all disciplines. 

TLRAR It is expected to continue to grow and help Black artists as they “create financial structure for themselves,” said Adams. “We want our Black artists in Baltimore to know that you can live here in Baltimore, where the cost of living is cheaper. With social media [and] the internet, we can showcase their works all over the world.”

The well attended event at the Baltimore Museum of Art (BMA) solely supported TLRAR. Last year, Adams won a $1.25 million grant from the Mellon Foundation to create a database for documenting the Black Culture of Baltimore. 

Among the diverse crowd were local and other national artists including Mickalene Thomas, and Leslie King Hammond. Art supporters and philanthropists,  including Claire Zamoiski Segal, Eddie and Sylvia Brown, David Warnock, Sherrilyn Ifill and Ivon Knobloch were also on hand for the event.

Newly appointed BMA Director Asma Naeem said the money raised and support for TLRAR “is a start. We have to do more.” 

Chairman of the BMA Board James Thornton agreed. 

“The fact that we were able to bring artists together to collaborate represents–hopefully– a foundation we can build on  over the years to come. It was refreshing to see the diversity and we are committed to diversity and inclusion and equity.  This is a good way to demonstrate that through our actions.”

We will do this at least something similar once a year and next year we hope to have an even bigger crowd,” he said.  

Derrick Adams says others began to notice what he was doing for Black Artist including the BMA and wanted to help. “They were hearing how they were being supported by me.  On this evening we hope to raise, I don’t know,  I’ll say $100,000.  “I want to create spaces in Baltimore for artist and specifically Black artist to grow, stay and live and unlike what I had to do; leave Baltimore to earn a living.” 

There were opportunities during the Mid-Summer Night Gala  to bid on art by Black artist including Derrick Adams and to purchase items illustrating the logo of the organization The Last Resort.

Highlighted at the Museum is The Culture: Hip Hop and Contemporary Art in the 21^st Century Exhibit. Which all the guests were able to visit.  It showcases works by Derrick Adams and others featuring  hip hop artists including Tupac and Lil Kim.  The exhibition  opened  April 5^th and will close on July 16^th.  Admission to the Baltimore Museum of Art is free.

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By: Asia Alexander

Special to the AFRO 

Rapper Jeffery Williams, commonly known as “Young Thug,” from Atlanta, organized thirteen album release parties for his new album Business is Business with one of those gatherings at the renowned Baltimore record store The Sound Garden on June 29. 

The Sound Garden was formed in 1993 by Bryan Burkert in the heart of Baltimore and was ranked the number two record store in the nation by RollingStone. Bryan said he was ecstatic to host the event supporting the rapper, who was recently indicted on RICO charges.

“Even though we host many events in the shop, this one was unique because Young Thug and his label contacted us to arrange it. It was enjoyable to host since it engaged the neighborhood and demonstrated support for the artist,” he stated.  

A phone call between Drake and Young Thug opens the album with the rapper stating “Just pushing, more Peter, more sweeter, more completer,” signaling to his fans that he is alright and still hoping for the best. 

The rapper has been locked up for over a year and has started conversations on Capitol Hill and social media, making this album highly anticipated. In May 2022, the rap industry started a movement to limit the use of rap lyrics in court, saying that it alters the artist’s creative expression. The only state that took a progressive step towards this goal is California with Bill AB 2799. 

Still, with all this occurring, the rapper has a fan base out of this world, placing the album at number two on Billboard 200. 

Baltimore native Priyah Tshiteya loved the event and said she was surprised and happy that it was happening in Baltimore because she felt that they sometimes get overlooked. 

“I’ve been a Thug fan since 2014 when I first heard “Stoner” felt it was a significant enough event for me to attend whether I went alone or with some friends. I think that’s because of the support I wanted to show for both the shop hosting the event since it’s locally-owned as well as support for Young Thug and his team since I am a pretty big fan. I was surprised it happened in my area honestly because I feel that we sometimes get overlooked being in Maryland so it was a good feeling to know we were included in an event like this,” she stated. 

Food, drinks and five additional tracks not found on the album were available at the event. Attendees also received a limited-edition poster with the album cover if they purchased a CD. 

The event was a different fun event that brought the music community in Baltimore together. Winston Satterwhite said this event was truly something to experience and he was excited to attend. 

“It was a great event with the opportunity to unreleased Thug and support him. I would give the album an 8.5. It was just good to hear the old Young Thug that I am used to.” 

Bryan Burkert stated this would not be the last event the record store will host at either of their two locations, one in Baltimore and one in Syracuse, N.Y. 

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By AFRO Staff

Prince fans, rejoice! New music from the late pop icon is now available.

Paisley Park, the singer’s estate, on July 7 cracked open his musical vault to release two tracks, “All A Share Together Now” and “7 (E Flat Version)” to streaming platforms worldwide.

“All A Share Together Now” was recorded on September 4, 2006, months after his hit album “3121.” The jazzy, R&B number was never previously released.

“7 (E Flat Version)” was recorded on August 9, 1992 as a fresh take on “7”, the third single off of his  “Love Symbol” album.

The two archived recordings were previewed last month, gifted exclusively to fans who attended Paisley Park’s Celebration 2023 in Minneapolis. Participants received the tracks on special cassette-shaped USB keys. 

The releases are the first of an emerging Prince Vault series, Paisley Park announced. The estate will be unearthing other previously unheard songs beginning this summer.

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By Ralph E. Moore Jr
Special to the AFRO

The most powerful soul singers to walk this Earth started out singing in houses of worship.

You may have heard by now that the “Queen of Soul,” the magnificent singer, Aretha Franklin, got her start singing in public in her father’s church. Her father, the Reverend C.L. Franklin was pastor of the New Bethel Baptist Church in the city of Detroit. 

After perfecting her vocal ability by raising a joyful noise to the Lord via spirituals, gospel and even the blues, Franklin rose to become the most popular and beloved singer of her time. Still today she is adored.  

Franklin favored the public’s listening ears with forever chart toppers: “Respect,” “Chain of Fools,” “I Say a Little Prayer,” and of course, “Natural Woman.”  On each of her hits you can hear her influences by the church.  The rhythms, the way she strings out her notes and her cadences could all be sung in a church services—with a few minor changes to the lyrics, of course. 

Aretha Franklin is one of a kind, the best of the best of singers in Black American music and all music.  She never sang for Motown records— instead, she started out with Atlantic Records and then Arista Records. 

Her most successful gospel album, entitled “Amazing Grace,” was recorded in 1972. Although Franklin died in 2018, there is no doubt her music will last forever.

Similar to Franklin, Marvin Gaye’s father was also a preacher. 

Gaye was born in Washington, D.C. and sang in his father Marvin Gaye Sr.’s church, called The House of God. 

Young Marvin Gaye sang in church at an early age while learning various musical instruments.  Once he grew up and met Berry Gordy, the founder of Motown, Gaye became a drummer and singer with Motown Records. He would eventually go on to become a solo artist for the company and produced some of the most popular and highly favored music the organization ever produced.  

His top singles include: “I Heard It Through the Grapevine,” “How Sweet It Is To Be Loved By You,” “Ain’t Nothing Like the Real Thing” and the hit, “Ain’t No Mountain High Enough,” which featured the unforgettable Tammi Terrell. 

Gaye will forever be remembered for his phenomenal album, “What’s Going On?,” released in 1971.  

Rumor has it Berry Gordy tried to discourage Gaye from putting the record out. Gordy felt like the tune wasn’t commercial enough, but Gaye insisted and the rest is Black musical history, which transcends race—like many great, Black contributions to this country. 

Along with Franklin and Gaye, there are countless other vocalists and entertainment groups with origins in the Black Church. 

The Staple Singers were a gospel group that got their start in Mississippi and Chicago churches.  The head of their singing group was the head of their family, Roebuck ‘Pop’ Staples.  The other performers in the Staple Singers were daughters Mavis, Cleotha and Yvonne and son, Pervis. Together, they expanded from church to popular music with catchy songs such as ‘Respect Yourself,’ ‘Touch a Hand (Make a Friend),’ and one of two of their biggest hits, ‘I’ll Take You There.’ 

The Staple Singers’ other number one song also became a movie soundtrack, ‘Do it Again,’ which the family co-produced with Curtis Mayfield.

Though surprising to some, it’s clear that Black artists were born in the church, but thrived on records and radios in the popular realm. Other performers who started out in church include: Otis Redding (‘Sittin’ On the Dock of the Bay,’), Whitney Houston (‘Saving All My Love For You,’) The Emotions (‘So I Can Love You’) and many others too numerous to mention.

So, church congregations were the first audiences for Black music.  The ears of Black folks were the first to hear the spectacular voices that remain with us forever. 

God smiled on the singers then, and God is probably snapping his-her fingers to their joyful noises today.  

The post Black Music Month: a salute to the Black church appeared first on AFRO American Newspapers.

by Kaiya Shunyata

In the first few months of this year alone, Black films have made some significant strides. From Michael B. Jordan making his directorial debut with “Creed III” to A.V Rockwell’s tender and poignant “A Thousand and One” making noise at Sundance, 2023 is shaping to be a substantial year for Black cinema.

As Black representation becomes increasingly significant in Hollywood and independent circles, it is important to showcase all the films we have to look forward to. From sequels to adaptations of classic novels, there is no shortage of exciting films on the horizon. There are nearly 7,000 films scheduled for release in 2023, but in this oversaturated market, it’s important not to lose sight of films that showcase a different perspective or approach.

The University of California, Los Angeles’ 2023 Hollywood Diversity Report found that only 1.7 out of 10 films released in movie theaters were directed by people of color. White directors ruled the roost, helming 83.1% of movies in 2022, followed far, far behind by Black and Asian directors, accounting for just 5.6% each, respectively.

To help ensure no Black film goes overlooked, Stacker looked through all projected 2023 releases and highlighted 25 feature films directed by Black filmmakers to look forward to, from major franchise installments to indie gems. Films are organized alphabetically.

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A24

All Dirt Roads Taste of Salt

– Director: Raven Jackson

Known for her short films “Nettles” and “A Guide to Breathing Underwater,” Raven Jackson’s debut feature film was released at Sundance in January. The film follows a Black woman in Mississippi from her childhood to her years as an adult and stars Charleen McClure as its main character. The film was produced by A24, the studio responsible for Oscar winners like “Moonlight” and “Everything Everywhere All at Once.”

Anonymes Films

Augure

– Director: Baloji

Belgian rapper Baloji makes his directorial debut with “Augure,” which follows a Congolese man who, after going away to Belgium, arrives back in his homeland of Kinshasa to confront his family and culture. Also called “Omen,” Baloji co-wrote the script with Thomas van Zuylen, exploring how traditional beliefs clash with more contemporary ones. The musician also composed the music for the project, written and composed from the point of view of the film’s four main characters. The movie made its premiere at the 2023 Cannes Film Festival.

Astou Films

Banel & Adama

– Director: Ramata-Toulaye Sy

Coming off the success of her 2021 short film “Astel,” which won the Special Jury Prize at the Clermont-Ferrand International Short Film Festival in 2022, Ramata-Toulaye Sy will finally make her anticipated feature film debut this year, premiering at the 2023 Cannes Film Festival. It tells the story of a young Senegalese couple forced to confront the disapproval their relationship brings when Adama (Mamadou Diallo) refuses to take on the responsibility of being a future chief.

Lionsgate

The Blackening

– Director: Tim Story

Adding a fun spin on the “Black characters always die first” trope comes a new horror-comedy movie from the director of “Taxi” and “Ride Along.” The film initially premiered at the 2022 Toronto International Film Festival and will get a wide theatrical release in June. It stars Dewayne Perkins, who also co-wrote the film, and Antoinette Robertson. Comedians Jay Pharoah and Yvonne Orji also appear, making it a surefire meta-horror in the vein of perhaps the Scary Movie franchise.

Dave J Hogan // Getty Images

Blitz

– Director: Steve McQueen

Known best for his Oscar-winning “12 Years a Slave,” as well as the recent anthology project “Small Axe,” director Steve McQueen is back with a new cinematic work. Though not much is known about the project, it is said to be a historical drama set in World War II and follows a few Londoners during the bombing of the British capital. The film stars Saoirse Ronan and Harris Dickinson and will be released from Apple TV+.

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Gilbert Flores/Variety // Getty Images

The Book of Clarence

– Director: Jeymes Samuel

Making his mark with the 2021 revisionist Western “The Harder They Fall,” director Jeymes Samuel uses a similar approach in “The Book of Clarence,” which sees its titular character living in 29 A.D. Jerusalem and looking to capitalize on the popularity of Jesus Christ. Epic biblical movies such as “The Ten Commandments” and “Ben-Hur” were cited as inspiration. The film stars LaKeith Stanfield, Caleb McLaughlin, and Anna Diop and opens in September.

Amblin Entertainment

The Color Purple

– Director: Blitz Bazawule

Warner Bros. is set to release this new musical reimagining of Alice Walker’s 1982 book “The Color Purple” in December. Blitz Bazawule is known for his debut feature film, “The Burial of Kojo,” the first Ghanaian movie to premiere on Netflix, and for co-directing Beyoncé’s musical film “Black Is King.” This rendition of the story is based on the 2005 Tony Award-winning Broadway production.

Michael Buckner/Variety // Getty Images

Dashing Through the Snow

– Director: Tim Story

Following “The Blackening” in June, Tim Story will release another comedy this year starring Ludacris, Teyonah Parris, and Lil Rel Howery. The film follows a social worker in Atlanta who takes his daughter with him on a ride, during which he accidentally angers a local politician and eventually learns the meaning of Christmas. The film will be distributed by Disney+ and released during the holidays this year.

Columbia Pictures

The Equalizer 3

– Director: Antoine Fuqua

The supposed final installment in the Equalizer trilogy, “The Equalizer 3” sees the return of private investigator Robert McCall (Denzel Washington) as he attempts to take down the Italian mafia. The film coincidentally reunites Washington and “Man on Fire” costar Dakota Fanning on screen for the first time in almost 20 years. In theaters this September, the movie marks Washington’s fifth time working with director Antoine Fuqua.

Robin L Marshall // Getty Images

Lift

– Director: F. Gary Gray

Known for such films as “Straight Outta Compton,” “The Italian Job,” and “Men in Black: International,” F. Gary Gray returns as helmer of the heist comedy “Lift.” Kevin Hart plays a thief extraordinaire whose FBI ex-girlfriend (Gugu Mbatha-Raw) has convinced him to undertake an impossible job stealing $100 million in gold bullion on a 777 flying from London to Zurich. Other names on the cast list include Sam Worthington (“Avatar”), Jean Reno (“Da 5 Bloods”), and Jacob Batalon (“Spider-Man: No Way Home”).

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Walt Disney Pictures

Haunted Mansion

– Director: Justin Simien

Known for his big-screen directorial debut “Dear White People,” which won the U.S. Dramatic Special Jury Award for Breakthrough Talent at Sundance in 2014, Justin Simien has since kept a low profile. Based on the famous Disney theme park ride, this movie sees a single mom staving off ghosts and ghouls with her 9-year-old son in New Orleans. Releasing in July, the film stars an ensemble cast including LaKeith Stanfield, Owen Wilson, and Danny Devito.

Couch Potatoe Pictures

Kokomo City

– Director: D. Smith

After building a name for herself producing for artists like Lil Wayne, Ciara, and Andre 3000, D. Smith will celebrate her directorial debut this year with “Kokomo City.” The project centers on the lives of four transgender sex workers in New York and Georgia, inspired by Smith’s own life experiences. The film had its world premiere at Sundance this year, winning over audiences as well as the NEXT Innovator Award. The movie also took home the Panorama Audience Award at the 73rd Berlin International Film Festival.

CNN Films

Little Richard: I Am Everything

– Director: Lisa Cortés

This is the first documentary about singer-songwriter and music icon Little Richard and reveals the Black queer origins of rock ‘n’ roll. The documentary was nominated for the Grand Jury Prize and celebrates its world premiere at Sundance this year. Magnolia Pictures quickly picked up the film and will have a theatrical release later this spring.

Searchlight Pictures

Magazine Dreams

– Director: Elijah Bynum

A breakout from Sundance this year, “Magazine Dreams” follows a part-time grocery clerk who struggles with social cues and harbors dreams of making it big in bodybuilding. Jonathan Majors, who plays the lead character Killian Maddox, undergoes a total transformation in his role, successfully conveying the intense self-imposed pressures of this hypermasculine discipline and exposing Maddox’s desire to be seen. The film releases this December from Searchlight Pictures.

Marvel Studios

The Marvels

– Director: Nia DaCosta

Trading the horror of “Candyman” for a new galactic backdrop, director Nia DaCosta helms one of the most anticipated superhero films of the year. The movie follows Carol Danvers (Brie Larson), Kamala Khan (Iman Vellani), and Monica Rambeau (Teyonah Parris), whose powers somehow become entangled across different universes. Whenever teenaged Khan uses her Marvel powers, she finds herself switching places with any of the other Marvels, sending both of them to unexpected corners of the galaxy. The film premieres this November.

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Kevin Winter // Getty Images

The Nickel Boys

– Director: RaMell Ross

Based on the 2020 Pulitzer Prize-winning novel by author Colson Whitehead, “The Nickel Boys” follows a young African American boy who gets sent to a reform school after being falsely accused of a crime, only to find that he has landed in a horrific situation. The only way to survive is to scheme and lay low. The film is based on a true story of a Florida reform school that has decimated the lives of thousands that went through its halls.

Samir Hussein // Getty Images

Occupied City

– Director: Steve McQueen

Although Steve McQueen’s work mostly consists of fictional films, he dipped his toe into the documentary field with one episode of the three-part BBC series “Uprising” in 2021. Now, he’s back for more, adapting a documentary based on the book “Atlas of an Occupied City (Amsterdam 1940-1945)” by Bianca Stigter, who also serves as a writer on this project. Past and present collide in “Occupied City” as the film explores the door-to-door excavation of the Nazi occupation in World War II Amsterdam set against the pandemic and protest years of the 2020s.

LOIC VENANCE // Getty Images

The Perfumed Hill

– Director: Abderrahmane Sissako

Abderrahmane Sissako has not directed a feature film since his 2014 war drama “Timbuktu,” which was nominated for an Academy Award for Best Foreign Language Film. Now, he makes his long-awaited return with the highly anticipated “The Perfumed Hill.” The movie follows Joice, who leaves an arranged marriage and travels to China to start a new life, where she later meets Cai, who slowly changes the course of her life.

Cold Front Productions

Shooting Stars

– Director: Chris Robinson

Though usually known for his work directing for television, Chris Robinson’s new project focuses on the inspiring origin story of basketball legend LeBron James. It reveals how James and his childhood friends become America’s #1 high school basketball team, ultimately launching his career. Starring Caleb McLaughlin, Algee Smith, and Wood Harris, the film arrives on Peacock this June.

Sony Pictures Animation

Spider-Man: Across the Spider-Verse

– Directors: Kemp Powers, Justin K. Thompson, Joaquim Dos Santos

A much-awaited follow-up to its 2018 predecessor, “Spider-Man: Across the Spider-Verse” reintroduces viewers to Miles Morales and his gang of various Spider friends. Fan-favorite Spider-Man iterations to watch out for include Jessica Drew, Spider-Man 2099, and more, with an all-star ensemble cast consisting of Issa Rae and Oscar Isaac.

The film is directed by Kemp Powers, Pixar’s first Black writer-director, whose work on “Soul” added depth and texture to what was once a lackluster project; Justin K. Thompson, who worked on the 2018 iteration; and Joaquim Dos Santos, whose producing credits include “Voltron: Legendary Defender” and “The Legend of Korra.” The movie will arrive from Sony Pictures this June.

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Rodin Eckenroth // Getty Images

Suncoast

– Director: Laura Chinn

Although she began her career as an actor, appearing on television shows like “Grey’s Anatomy” and “General Hospital,” Laura Chinn is stepping behind the camera for the first time with her feature debut. The semi-autobiographical film focuses on a young biracial woman coming of age while struggling to deal with her brother’s illness. The film stars Nico Parker, Laura Linney, and Woody Harrelson.

Federal Films

They Cloned Tyrone

– Director: Juel Taylor

Juel Taylor is set to make his feature film debut after writing screenplays for both “Creed II” and “Space Jam: A New Legacy.” This sci-fi action comedy film stars John Boyega, Teyonah Parris, and Jamie Foxx as an unlikely trio attempting to uncover a government conspiracy involving cloning. The sci-fi film will premiere at the American Black Film Festival in June before arriving on Netflix in July.

Paramount Pictures

Transformers: Rise of the Beasts

– Director: Steven Caple Jr.

Following the success Steven Caple Jr. saw after helming “Creed II,” action appears to be the director’s new forte. Five years after the last edition of the Transformers saga, this new venture is primarily influenced by the Beast Wars storyline of the original Transformers Hasbro toys, which sees Maximals pitted against the Predacons, descendants of the Autobots and Decepticons. The film stars Anthony Ramos and Dominique Fishback, with Peter Cullen reprising as the voice of Optimus Prime. The film will release from Paramount Pictures this June.

Cindy Ord // Getty Images

The Underdoggs

– Director: Charles Stone III

The film follows Jaycen “2J’s” Jenning, a former NFL superstar who, after a run-in with the law, agrees to coach a youth football team in hopes of reviving his career. The film stars Snoop Dogg (whose Death Row Pictures is producing), George Lopez, and Mike Epps. This marks Charles Stone III’s first feature film directorial work in five years since the sports comedy “Uncle Drew” and step dance film “Step Sisters.” “The Underdoggs” releases this October.

Confluential Films

Young. Wild. Free.

– Director: Thembi Banks

“Young. Wild. Free.” marks Thembi Banks’ feature film directing debut, although she has written for Hulu’s Emmy-nominated “Only Murders in the Building” and directed episodes of HBO’s “Insecure.”The film follows a young boy struggling to provide for his younger siblings. He suddenly finds his life turned upside down when he’s held at gunpoint and whisked into a mystical Los Angeles coming-of-age adventure by the girl of his dreams. Algee Smith, Sierra Capri, and Sanaa Lathan star in the film, which premiered at Sundance in January.

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The post 25 Black films we’re looking forward to in 2023 appeared first on AFRO American Newspapers.

By AFRO Staff

The 2023 BET Awards took place in Los Angeles, Calif., on June 25.

The star- studded affair included appearances by hip-hop legends such as The Sugarhill Gang and Big Daddy Kane. 

Latto performed, along with Coco Jones and Master P, who wowed the audience with his performance honoring hip-hop’s 50th anniversary.  

“I just want to thank God so much for keeping me when I didn’t understand and for all of my Black girls—we do have to fight a little harder to get what we deserve but don’t stop fighting,” said Coco Jones, during the broadcast, which aired on BET. “Even when it doesn’t make sense and you’re not sure how you’re going to get out of those circumstances, keep pushing because we are deserving of great things.”

Winners for the night included Burna Boy, who took home the award for “Best International Act,” and SZA, who claimed the top spot as “Best Female R&B/Pop Artist”.  

It was no surprise that Beyonce took home more trophies, as she was nominated for “Viewers Choice Award,” “Best Female R&B/ Pop Artist” and a multitude of other awards. Queen “Bey” took home the award for “Album of the Year” and the “BET Her Award”. 

Aside from the glitz and glamour, there was also a bit of drama. City Girl Jatavia“JT” Johnson, caused a raucous when she got into a spat with boyfriend Lil Uzi Vert while sitting in the audience. 

Johnson was caught on camera physically assaulting her partner while cussing at the rap star. In the video, another audience member can be heard saying the altercation was a result of Lil Uzi Vert allegedly talking with artist Isis “Ice Spice” Gaston.

Though the commotion was disturbing, the show went on, with tributes and performances to artists that have left an indelible mark on the culture. 

The ceremony included time to remember the late Tina Turner, who passed on May 24 in Switzerland. Kirsnick “Takeoff” Ball, one-third of the rap group “The Migos,” was also honored for his contributions to the rap genre. Ball was shot to death in Houston on Nov. 1 of last year, after his groupmate and uncle Quavious “Quavo” Marshall got into a verbal altercation outside of a bowling alley. 

The awards show also dedicated time to honoring the genre of hip-hop, which has officially been around for 50 years come Aug. 11. Artists, producers, museums, creative groups, elected officials and communities around the country have been celebrating the birth of hip-hop all year and the BET Awards were no exception. The hip-hop tribute during the 2023 BET Awards included Fabulous, Fat Joe and Trick Daddy, and Busta Rhymes was given a Lifetime Achievement Award. 

Ahead of the BET Awards, a look back at how the network helped hip-hop grow and thrive

The post 2023 BET Awards highlight African-American music and culture during Black Music Month appeared first on AFRO American Newspapers.

By Stephanie Harper,
Special to the AFRO

The 46th annual AFRAM Festival that took place in Baltimore over Juneteenth weekend was a great success. The event opened up with the inaugural Baltimore Club Music Day, which took place on June 17,  and was followed by a second day of exciting, innovative activities and entertainment.

Over the two days of the festival, activist Jesse Jackson and Governor Wes Moore made appearances, along with celebrity artists like Tamar Braxton and the Isley Brothers. A number of amenities that were not offered last year were also available, including charging stations, water stations and a new option: a shuttle from Mondawmin Mall to the park. 

Though many come to the AFRAM Festival for the artists and various performers, the real perk was access to the small businesses and organizations that vend along the winding path to the main stage. 

Entrepreneurs were on hand to sell a variety of items including jewelry, holistic items, food, clothes, children’s books and even live turtles. The festival offers something for everyone– as countless free resources were also available. Mental health providers, local colleges and universities, the Baltimore City Fire Department and a host of other agencies and organizations were on hand to interact with residents and visitors.  

Vinny Green, owner of Taharkas Brothers, a local organic ice cream company, spoke with the AFRO. 

“We’ve been around for 12 years and we’re at AFRAM because of the community,” said Green.  “This is our community and we like giving back. Yes, we have several locations throughout the city including Lexington Market and R House as well as 140 wholesale accounts– but we still believe in community.”

Holistic care and accessories were available through several vendors such as Heavenly by Goddess B, a local company specializing in metaphysical healing. Owner and healer Shamera Brooks has been in business for two years now. 

“AFRAM is mostly cultural, and I love to network with people. I love to meet new people because you learn stuff from people every day,” said Brooks. “I want to teach people how to heal from a lot of things that we can use as a resource. So, we have crystals, candles, plants, oils, essential oils and sage. It’s all about the cleansing of the mind, the body, and the soul. This is my first time this year and it’s a hot one– but a nice crowd.”

California native and CEO of Lofty Stories, Jamila Romero, traveled from Washington D.C. to take part in the festival. 

“I write children’s books and we have three currently. We have our “A – Z Black Girl Affirmations,” as well as “A – Z Black Boy Affirmations” and our most recent one, “A – Z Children Affirmations,” said Romero. “I chose AFRAM because it represents the culture and I definitely wanted to be a part of that [by] celebrating Black and Brown [people] and ensuring that they can see themselves within books. I am currently an educator and I know that there is a discrepancy when it comes to that.”

AFRAM also hosted organizations such as Black Girls Vote. Sherry Adams, the outreach lead for Black Girls Vote, spoke with the AFRO. 

“Even though it’s hot out here, it’s never too hot to educate our African American people from Baltimore and beyond about the educational process and the importance of voting,” said Adams, when asked why she attended the festival. “We see so many different age groups out here and believe it or not, we’re not just registering voters that are younger, but we are also educating and registering folks that are 30,40,50– even 60.”

Aside from the food, the music and the fashions, another important part of the festival that stood out was the beautiful display of Black fatherhood. Generations of men and young boys could be seen laughing and talking with each other on both days of the festival– but the love was at an all-time high on day two of the event, which was Father’s Day. 

Matthew Pinkney, resident from Baltimore, told the AFRO what fatherhood meant to him on the special day.  

“It means the world to me to be a Black father in Baltimore City because there isn’t a lot of representation,” said Pinkney. “Black men, we have to show out! We have to show that there are good Black men and Black role models in this community.” 

The festival closed out with the internationally known Isley Brothers crooning to the crowd. Overall, the festival was a sweet reminder of how community and culture can bring Charm City together. 

This year’s AFRAM Festival highlighted the best of Baltimore– without incident– and highlighted the city’s unique offerings of community and culture. 

The post Black music, businesses and culture shine at Baltimore’s 46th AFRAM Festival appeared first on AFRO American Newspapers.

The post Editorial Art by Kofi Tyus appeared first on AFRO American Newspapers.

By Dandrea V. James

As a future ancestor, I encourage young folks to consider what Juneteenth means to them. To me, Juneteenth means critical thinking, collective destiny and veneration of the spirit of solidarity. Since June is also Black Music Month, this is also a good time to reflect on socially conscious music.

Juneteenth honors the day in 1865 when the enslaved in and around Galveston, Texas, found out they had been freed two-and-a-half years after the Emancipation Proclamation had been signed. This bittersweet commemoration of freedom is now a federal holiday on June 19.  It has grown in popularity with massive parades and festivals in some cities.

Whether you look to rationalize the ideas of the Confederate states or the Union, the bottom line is that post-Civil War socio-political issues are still based on color vs. content of character. A question of whose race is more deserving of a good quality of life and freedom from fear in this country still evokes balking, battles and bloodshed.

As the years unfold, generations come and go. It is critical to ensure that our youthful successors continue to nurture a connection with the cultural-spiritual practices of acknowledging ancestors long gone and recently passed. Remember their contributions and sacrifices which are testament to their critical thinking and how they used their talents and skills in every facet of life to alleviate our suffering. These are noble acts of solidarity. It is our collective destiny to nurture and live in solidarity. In fact, all Afro-American holidays and observances are opportunities to do so.

As for naysayers who postulate that “Black people can never have solidarity ’cause they can never get together and do anything,” I say kindly put on your sociological thinking caps and examine our music history, especially the socially conscious music from the 1960s and 1970s. This music exudes the spirit of solidarity. And while you’re at it, kindly consider the definition of solidarity put forth by members of Black Wall Street, the Deacons for the Defense, the Civil Rights Movement and the Black Panther Party— just to name a few.  

Hence, if some or all of you good folks out there are thinking about ways to commemorate Juneteenth in a way that will stir the spirits of the Middle Passage with jubilant praises of strength, struggle, and survival and that will blaze a path to the souls of Black folk through veneration of the spirit of solidarity, then this Juneteenth, let’s take it to the bridge and reconnect with the spirit of socially conscious music from the 1960’s and 1970’s.

I put together a suggested playlist of tunes that are personal favorites of Pulitzer Prize-winning journalist Patrice Gaines, award-winning journalist and Howard University professor,  Dr. Yanick Rice Lamb, and bibliophile and co-founder of the Hurston/Wright Foundation, Clyde McElvene. Each of whom I asked, “What are three of your favorite socially conscious songs from the 1960s and 1970’s? 

A note: Our beloved Godfather of Soul, James Brown, used the expression “Take It to the Bridge” in his performances both live and recorded. I never tired of hearing him do so. It has been absorbed into my soul power flower petals down to the roots. Not only does it refer to a point of transition in music that connects one part to the other or a hyped beat-break for really gettin’ down, it may also refer to a place of contemplation for understanding and upliftment.  

As a literary artist and “Flower Child” who views life from the perspective of “love, peace and soul,” I am duty bound to remind folks about the people, places and things that drove the Civil Rights Movement forward, as well as to uphold the cultural-spiritual veneration of the spirit of solidarity. 

It is an honor and duty to put forth this suggested playlist to commemorate Juneteenth! Check out the list to revisit or discover and experience staples of the Black music experience. 

The post Juneteenth: a celebration of Black music and culture   appeared first on AFRO American Newspapers.

The AARP-sponsored event will honor local faith leaders and Black Baltimore historical institutions 

In celebration of Juneteenth, the AFRO is honored to host “We’ve Come This Far By Faith”, a breakfast recognizing faith leaders throughout Baltimore’s African-American community.

As the oldest Black-owned business in D.C., Maryland and Virginia, the AFRO plays a central role in the area’s Juneteenth celebration. As leaders in the Black community, the AFRO wishes to celebrate the faith leaders who guide us on our journey to freedom. 

Honorees include Rev. Dr. A.C.D. Vaughn (posthumously), Bishop Walter Scott Thomas, Bishop Clifford Johnson, Bishop Vashti McKenzie, and Dr. Leah E. White. Additionally, Bishop McKenzie and Dr. Benjamin Chavis will serve as featured speakers for the event. Historical institutions honored will include the NAACP – Baltimore Chapter, the Urban League – Baltimore Chapter, the National Council of Negro Women (NCNW), and the National Newspapers Publishers Association (NNPA).

“The AFRO truly believes that we’ve come this far by faith, yet we still have a long way to go,” said Dr. Frances “Toni” Draper, CEO & publisher of The AFRO. “Juneteenth is meant to be a celebratory occasion, and we are excited to applaud a few of  the faith leaders, the civil rights organizations and the Black press that continue to guide us every day.”  

Lenora Howze, executive director for the AFRO, noted the company’s appreciation for AARP’s sponsorship of the event. 

“We are grateful for AARP’s support as our generous sponsor, and for their recognition of Juneteenth’s role in not just the Black community, but the entire American community,” said Howze.

Dr. Draper added, “Juneteenth is central to our community’s history, and we are thrilled that it is now a national holiday that is being celebrated by the entire country.”

The event will be held at The Pavilion in Baltimore, Md., beginning at 9 am. 

Individual tickets can be purchased for $65, via https://www.afrotix.live/e/baltimore-afro-annual-high-tea

To learn more about the AFRO, visit: https://afro.com

About the AFRO

The AFRO is the oldest Black-owned business in D.C., Maryland and Virginia, and the 3rd-oldest in the United States. For over 130 years, the AFRO has offered a platform for images and stories that advance the Black community, fulfilling the vision of John H. Murphy, Sr., a former enslaved man who founded the publication with his wife, Martha Howard Murphy. Today, through the leadership of Murphy’s great-granddaughter, Dr. Frances “Toni” Draper, the AFRO remains the Black Media Authority, providing readers with good news about the Black community not otherwise found.

Media Contact

Nick Jones
Abel Communications for the AFRO
nick@abelcommunications.com

The post AFRO to host Juneteenth breakfast “We’ve Come This Far By Faith” appeared first on AFRO American Newspapers.

By Stephanie Harper 
Special to the AFRO

Summer doesn’t officially start in Baltimore until the AFRAM Festival kicks off, bringing residents and visitors from the entire region to enjoy all things related to African-American culture.

The 46th annual AFRAM festival is currently taking place, celebrating today’s hottest artists, Black culture and Black businesses. This year, the festival kicked off by officially marking June 17th as Baltimore Club Music Day. The two-day festival will continue through Sunday, June 18th, with the celebration coming to a close on Father’s Day. 

This year, Baltimore’s AFRAM Festival hosted a number of amenities that were not offered last year. Including charging stations, water stations and a new option: a shuttle from Mondawmin Mall to the inside of the park. 

The shuttle certainly helps with transportation, parking and the walk to the main stage, which could average a mile for most visitors. The main walk was covered with vendors serving everything from food, drinks, clothes, jewelry, soap to art work, health screenings and paraphernalia from local high schools and historically Black colleges and institutions (HBCUs). 

The first day of the festival was jam packed with community, culture and of course the thumping bass of Baltimore club music. 

The inaugural Baltimore Club Music Day was honored with a plaque and remarks from Mayor Brandon Scott who, alongside popular DJ Angel Baby, presented awards to legendary club music icons such as DJ Boogie, DJ BlacStar, Ducky Dynamo, and DJ Big L. 

“Club music is the life blood of Baltimore,” Mayor Brandon M. Scott told the AFRO in an interview after leaving the stage. 

“This is how we got our frustration out— this is how we got our pain out,” said Scott, referring to the high energy nature of both Baltimore club mix and the internationally known dances that go with it— like the “crazy legs,” the “SpongeBob” and the “Cherry Hill.”

Awards were handed out to those that have been a part of the Baltimore Club music scene pushing its history forward. Producers such as Mighty Mark and TT the Artist were among those that were recognized for their contributions to the sound of Baltimore Club Music. 

Baltimore club music is not to be mistaken for mixes heard in Jersey or on the Philly music scene—which some say is a spin off of Charm City’s creation—differentiated by a faster beat with emphasis on slightly different percussion patterns. 

To further celebrate the official recognition of Baltimore Club Music Day, participants of the festival received free “Baltimore Club Music Day” T-shirts to wear.  The black and gold design could be seen on attendees of all ages and race, as dance battles and cyphers formed across a field full of residents rocking to the legendary sounds of DJ Big L. 

For those not a fan of club mix, the festival offered a smaller stage which hosted neo-soul and local artists. 

Still, day one of the AFRAM festival was focused on highlighting the dancers and music that makes Baltimore unique. The performances of professional performers “TSU Terry” Wedington and the now internationally known dancer, Bunkey Jr., did much more than just make appearances— they truly bonded with members of the crowd through the art of dance.

Wedington showed up with his crew, Team Squad Up (TSU), and made every song a hit with his explosive dance style.

 “This means a lot now,” Wedington said, speaking on Baltimore Club Music Day and the world-wide recognition recently received after the drop of Netflix’s “Dark City: Beneath the Beat,” which explores the origins of Baltimore club music.

“I can relax now,” he told the AFRO. “The city is loving the actual culture of it again. I think when K-Swift passed there was this silence. Dancers like me tried to keep it going through dance— though we actual producers that make the music. We use the music that was before our time to showcase the dance moves and the dance music.”

Khia “K-Swift” Edgerton was a force to be reckoned with on the Baltimore music scene. She tragically died in July 2008 after diving into a pool at a party and sustaining fatal injuries. Baltimore Club Music Day included multiple mentions of K-Swift by the DJs and dancers who keep her memory alive.

Another member of TSU, known as Sheldon “TSU Rum” Mackall, weighed in on why Baltimore Club Music Day is so important to him. 

“It keeps the history, and this is something Baltimore needed,” said Mackall. “Baltimore club started as an underground thing—hip hop is more industry. We actually had to work our way to be validated as a style and a culture and now we’re there.” 

Though many legends were honored, viral sensation, Rodney Snead aka “Bunkey Jr.,” stole the show as the creator of the Park Heights Strut. Snead was in attendance and gave an exciting performance to commemorate the inaugural Baltimore Club Mix Day. 

“Baltimore has always been popping and it’s just now being recognized— but we’ve always been us,” said Snead. “It’s our passion and our style that makes us stand out. We’ve always stood out and now it’s just the world is catching up with us.” 

Baltimore club music trendsetter and legend DDM performed a tribute to Ms. Toni, a Baltimore club mix legend. 

“Baltimore club music is important because it’s the signature and the pulse of the city,” DDM told the AFRO. “It has paved the way for some of the greatest hits and makes waves around the globe. I’m happy to be able to pay tribute to Ms. Toni today, a legendary Baltimore club music artist that opened up my eyes to club music. We are the culture that the world has been eyeing and now we’re officially global and here to stay.”

The post K-Swift, crazy legs and snowballs: Baltimore Club Music Day makes debut at 46th annual AFRAM Festival  appeared first on AFRO American Newspapers.

By HILLEL ITALIE, AP National Writer

NEW YORK (AP) — Tina Turner, the unstoppable singer and stage performer who teamed with husband Ike Turner for a dynamic run of hit records and live shows in the 1960s and ‘70s and survived her horrifying marriage to triumph in middle age with the chart-topping “What’s Love Got to Do With It,” has died at 83.

Turner died Tuesday, after a long illness in her home in Küsnacht near Zurich, Switzerland, according to her manager. She became a Swiss citizen a decade ago.

Few stars traveled so far — she was born Anna Mae Bullock in a segregated Tennessee hospital and spent her latter years on a 260,000 square foot estate on Lake Zurich — and overcame so much. Physically battered, emotionally devastated and financially ruined by her 20-year relationship with Ike Turner, she became a superstar on her own in her 40s, at a time when most of her peers were on their way down, and remained a top concert draw for years after.

With admirers ranging from Beyoncé to Mick Jagger, Turner was one of the world’s most successful entertainers, known for a core of pop, rock and rhythm and blues favorites: “Proud Mary,” “Nutbush City Limits,” “River Deep, Mountain High,” and the hits she had in the ’80s, among them “What’s Love Got to Do with It,” “We Don’t Need Another Hero” and a cover of Al Green’s “Let’s Stay Together.”

Her trademarks were her growling contralto, her bold smile and strong cheekbones, her palette of wigs and the muscular, quick-stepping legs she did not shy from showing off. She sold more than 150 million records worldwide, won 12 Grammys, was voted along with Ike into the Rock and Roll Hall of Fame in 1991 (and on her own in 2021) and was honored at the Kennedy Center in 2005, with Beyoncé and Oprah Winfrey among those praising her. Her life became the basis for a film, a Broadway musical and an HBO documentary in 2021 that she called her public farewell.

Until she left her husband and revealed their back story, she was known as the voracious on-stage foil of the steady-going Ike, the leading lady of the “Ike and Tina Turner Revue.” Ike was billed first and ran the show, choosing the material, the arrangements, the backing singers. They toured constantly for years, in part because Ike was often short on money and unwilling to miss a concert. Tina Turner was forced to go on with bronchitis, with pneumonia, with a collapsed right lung.

Other times, the cause of her misfortunes was Ike himself.

As she recounted in her memoir, “I, Tina,” Ike began hitting her not long after they met, in the mid-1950s, and only grew more vicious. Provoked by anything and anyone, he would throw hot coffee in her face, choke her, or beat her until her eyes were swollen shut, then rape her. Before one show, he broke her jaw and she went on stage with her mouth full of blood.

Terrified both of being with Ike and of being without him, she credited her emerging Buddhist faith in the mid-1970s with giving her a sense of strength and self-worth and she finally left in early July, 1976. The Ike and Tina Turner Revue was scheduled to open a tour marking the country’s bicentennial when Tina snuck out of their Dallas hotel room, with just a Mobil credit card and 36 cents, while Ike slept. She hurried across a nearby highway, narrowly avoiding a speeding truck, and found another hotel to stay.

“I looked at him (Ike) and thought, ‘You just beat me for the last time, you sucker,’” she recalled in her memoir.

Turner was among the first celebrities to speak candidly about domestic abuse, becoming a heroine to battered women and a symbol of resilience to all. Ike Turner did not deny mistreating her, although he tried to blame Tina for their troubles. When he died, in 2007, a representative for his ex-wife said simply: “Tina is aware that Ike passed away.”

Little of this was apparent to the many Ike and Tina fans. The Turners were a hot act for much of the 1960s and into the ’70s, evolving from bluesy ballads such as “A Fool in Love” and “It’s Going to Work Out Fine” to flashy covers of “Proud Mary” and “Come Together” and other rock songs that brought them crossover success.

They opened for the Rolling Stones in 1966 and 1969, and were seen performing a lustful version of Otis Redding’s “I’ve Been Loving You Too Long” in the 1970 Stones documentary “Gimme Shelter.” Laurence Fishburne and Angela Bassett gave Oscar-nominated performances as Ike and Tina in the 1993 movie “What’s Love Got to Do with It,” based on “I, Tina,” but she would say that reliving her years with Ike was so painful she couldn’t bring herself to watch the movie).

Ike and Tina’s reworking of “Proud Mary,” originally a tight, mid-tempo hit for Creedence Clearwater Revival, helped define their assertive, sexual image. Against a background of funky guitar and Ike’s crooning baritone, Tina began with a few spoken words about how some people wanted to hear songs that were “nice and easy.”

“But there’s this one thing,” she warned, “you see, we never ever do nothing nice and easy.

“We always do it nice — and rough.”

But by the end of the 1970s, Turner’s career seemed finished. She was 40 years old, her first solo album had flopped and her live shows were mostly confined to the cabaret circuit. Desperate for work, and money, she even agreed to tour in South Africa when the country was widely boycotted because of its racist apartheid regime.

Rock stars helped bring her back. Rod Stewart convinced her to sing “Hot Legs” with him on “Saturday Night Live” and Jagger, who had openly borrowed some of Turner’s on-stage moves, sang “Honky Tonk Women” with her during the Stones’ 1981-82 tour. At a listening party for his 1983 album “Let’s Dance,” David Bowie told guests that Turner was his favorite female singer.

More popular in England at the time than in the U.S., she recorded a raspy version of “Let’s Stay Together” at EMI’s Abbey Road studios in London. By the end of 1983, “Let’s Stay Together” was a hit throughout Europe and on the verge of breaking in the states. An A&R man at Capitol Records, John Carter, urged the label to sign her up and make an album. Among the material presented to her was a reflective pop-reggae ballad co-written by Terry Britten and Graham Lyle and initially dismissed by Tina as “wimpy.”

“I just thought it was some old pop song, and I didn’t like it,” she later said of “What’s Love Got To Do With It.”

Turner’s “Private Dancer” album came out in May 1984, sold more than eight million copies and featured several hit singles, including the title song and “Better Be Good To Me.” It won four Grammys, among them record of the year for “What’s Love Got to Do With It,” the song that came to define the clear-eyed image of her post-Ike years.

“People look at me now and think what a hot life I must have lived — ha!” she wrote in her memoir.

Even with Ike, it was hard to mistake her for a romantic. Her voice was never “pretty,” and love songs were never her specialty, in part because she had little experience to draw from. She was born in Nutbush, Tennessee in 1939 and would say she received “no love” from either her mother or father. After her parents separated, she moved often around Tennessee and Missouri, living with various relatives. She was outgoing, loved to sing and as a teenager would check out the blues clubs in St. Louis, where one of the top draws was Ike Turner and his Kings of Rhythm. Tina didn’t care much for his looks the first time she saw him, at the Club Manhattan.

“Then he got up onstage and picked up his guitar,” she wrote in her memoir. “He hit one note, and I thought, ‘Jesus, listen to this guy play.’”

Tina soon made her move. During intermission at an Ike Turner show at the nearby Club D’Lisa, Ike was alone on stage, playing a blues melody on the keyboards. Tina recognized the song, B.B. King’s “You Know I Love You,” grabbed a microphone and sang along. As Tina remembered, a stunned Ike called out “Giirrlll!!” and demanded to know what else she could perform. Over her mother’s objections, she agreed to join his group. He changed her first name to Tina, inspired by the comic book heroine Sheena, Queen of the Jungle, and changed her last name by marrying her, in 1962.

In rare moments of leniency from Ike, Tina did enjoy success on her own. She added an explosive lead vocal to Phil Spector’s titanic production of “River Deep, Mountain High,” a flop in the U.S. when released in 1966, but a hit overseas and eventually a standard. She was also featured as the Acid Queen in the 1975 film version of the Who’s rock opera “Tommy.” More recent film work included “Mad Max Beyond Thunderdome” and a cameo in “What’s Love Got to Do with It.”

Turner had two sons: Craig, with saxophonist Raymond Hill; and Ronald, with Ike Turner. (Craig Turner was found dead in 2018 of an apparent suicide). In a memoir published later in 2018, “Tina Turner: My Love Story,” she revealed that she had received a kidney transplant from her second husband, former EMI record executive Erwin Bach.

Turner’s life seemed an argument against marriage, but her life with Bach was a love story the younger Tina would not have believed possible. They met in the mid-1980s, when she flew to Germany for record promotion and he picked her up at the airport. He was more than a decade younger than her — “the prettiest face,” she said of him in the HBO documentary — and the attraction was mutual. She wed Bach in 2013, exchanging vows at a civil ceremony in Switzerland.

“It’s that happiness that people talk about,” Turner told the press at the time, “when you wish for nothing, when you can finally take a deep breath and say, ‘Everything is good.’”

___

Associated Press Writer Hilary Fox contributed to this report.

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By Reuben Greene,
Special to the AFRO

As a photojournalist, I’ve had the privilege of documenting numerous musical performances throughout my career, but none have been as soul-stirring and electrifying as Jill Scott’s “Words and Sounds Vol. 1”  Anniversary Tour. Stepping into The Theater at MGM National Harbor in Oxon Hill, Md., I could feel the palpable excitement in the air, knowing that I was about to witness the extraordinary talent of a three-time Grammy Award-winning musician.

 Scott, an iconic figure in the music industry, has captivated audiences worldwide with her unmatched vocal prowess and profound lyrical depth. Her debut album, “Who is Jill Scott,” released 23 years ago, remains a timeless masterpiece that has solidified her place as a music legend. On this special tour, she brought that album to life once again, enchanting her fans with her soulful melodies and thought-provoking lyrics.

As the curtains drew back and the stage illuminated with a warm, golden glow, Jill Scott emerged, radiating an undeniable aura of grace and confidence. The crowd erupted into a thunderous applause, eagerly awaiting the journey she was about to take them on. Opening the performance with “A Long Walk,” her velvety voice resonated through the venue, instantly captivating everyone in attendance. Her impeccable vocal control and the raw emotions she conveyed were nothing short of mesmerizing.

Continuing the night’s magic, Jill Scott transitioned into “Gettin’ in the Way,” a song that showcased her ability to effortlessly blend spoken word and melodic singing. The audience swayed to the rhythm, completely immersed in the soulful atmosphere she created. Every word that escaped her lips carried weight, as if each lyric held a piece of her heart, effortlessly connecting with the hearts of those in the crowd.

In recent press releases, Jill Scott emphasized the importance of this tour, stating, “Words and Sounds Vol. 1 was the beginning of a beautiful journey for me. It marked the start of a career filled with love, vulnerability, and artistic exploration. I want to honor that journey and share it once again with my dedicated fans who have been there every step of the way.”

The dedication and passion of Jill Scott’s fans were undeniable that night. The energy in the theater was electric, as people of all ages swayed, clapped, and sang along to every song. The atmosphere was a harmonious blend of joy, nostalgia, and admiration for an artist who has become an emblem of resilience and artistic brilliance.

Reflecting on Jill Scott’s remarkable career since the release of “Who is Jill Scott,” it is impossible to ignore her accomplishments and accolades. With three Grammy Awards under her belt, including Best Urban/Alternative Performance for “Cross My Mind” and Best R&B Performance for “Daydreamin’,” she has solidified herself as a force to be reckoned with in the music industry. Her contributions to soul, R&B, and neo-soul music have left an indelible mark, inspiring countless artists who have followed in her footsteps.

As the “Words and Sounds Vol. 1” Anniversary Tour reached its climax, Jill Scott took a moment to express her gratitude to the audience, acknowledging their unwavering support throughout her career. Her humility and genuine appreciation for her fans shone through, creating an intimate connection between artist and audience that transcended the confines of the theater.

As I packed up my camera gear, I couldn’t help but feel a sense of awe and inspiration from Jill Scott’s performance. Her ability to weave together powerful lyrics, captivating melodies, and an unmatched stage presence is a testament to her extraordinary talent. This tour served as a reminder of her enduring impact on the music industry and the hearts of her devoted fans.

The event was a magical experience, a celebration of an artist who continues to push boundaries and touch souls with her music. It was an honor to witness such a mesmerizing performance and capture the essence of a musician who has left an indelible mark on the world of music.

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By Ralph E. Moore Jr.,
Special to the AFRO

Maryland Public Television (MPT) is celebrating Women’s History Month and a very special woman, Ruby Duncan, tonight. The documentary “Storming Caesars Palace,” will air on MPT at 10 p.m. Eastern Time. 

The documentary chronicles a little-noticed welfare rights battle in which Duncan led a group of welfare mothers in a demand for public assistance. A preview was held at the MPT headquarters in Owings Mills, Md. on March 8, followed by a panel discussion about the issue.

Duncan,  in the late 1960s and early 1970s, went up against the Las Vegas hotel industry, as well as state and federal lawmakers and welfare officials.

Ruby fought for the economic rights of poor people, especially women on welfare with children.  She was a leader, an organizer, and a brilliant strategist. The panel following the film included Dana P. Moore, Baltimore’s chief equity officer and director of the Office of Civil Rights and Wage Enforcement,  Chrissy Thornton, executive director of Associated Black Charities and Robyn Murphy, chief executive officer of JRM Consultancy.

The film tells the story of how women on public assistance, most of them Black, advocated for a change in policies which were being touted by President Richard Nixon domestic policy adviser Daniel Patrick Moynihan at the time. The state of Nevada had cut 75 percent of its aid to welfare mothers. 

And that is what brought Ms. Ruby Duncan, a mother in Las Vegas, into activism and into the fight against poverty and cruel government neglect. The film, “Storming Caesars Palace,” is Ruby Duncan’s story as told by Hazel Gurland-Pooler, a Colombian-born filmmaker who has worked with Henry Louis Gates Jr.

Duncan worked in the service industry as a hotel worker until she was fired. Jobless, but responsible for dependents, she began to find others in her situation and started organizing them to fight for financial help from the government for their children and themselves. 

Imagine that, an unemployed woman with children, with limited education and experience and no organizing training taking on the hotel industry, the state and federal government and organized crime–and won!

It is a fascinating story of charismatic leadership and nothing-to-lose courage (1,100 families had already been cut from public assistance by the state of Nevada, dubbed ‘Mississippi of the West’ by some). 

See the film, “Storming Caesars Palace.” It is inspiring, full of irony and laced with humor.  

Ruby Duncan’s charm and her liberating lack of fear clearly helped her gain followers. Check out this amazing woman for yourself. She was a tremendous champion for the poor, but Ruby moved poor women to action by inspiring them to fight for justice. See the film.

The panel discussion that followed the preview of the film on March 8 was packed with mostly women but a few of us menfolk. 

Robyn Murphy began the discussion by asking the two panelists their impressions of the documentary.  Dana Moore remarked that Ruby Duncan reminded her of her own mother—with an absentee husband away in the military and later a divorced single mom with four children.  

Duncan’s perseverance, political savvy and protective nature of her kids reminded her of her mom.  Moore spoke of the need for increasing help for poor people in Baltimore calling for more and better public transportation, more decent, affordable housing, fewer food deserts in neighborhoods and quality education and healthcare. 

Chrissy Thornton, the new head of Associated Black Charities, praised the film.  

“I loved the film [and] watched it ahead of time. I actually got the book,” said Thornton. She decried the tendency for organizations to make decisions for people in need without their input— or specific efforts to understand and address the issues most important to them. 

In addition, Moore encouraged the women in the audience to step up in the fight for those in need.  “Don’t wait for them to give you a seat at the table.  Make your own place at the table. Like Ruby, some folks under-estimated me. When people do, I enjoy proving them wrong, as Ruby Duncan did.”

Murphy closed the panel discussion by urging the group to invite others to see the film.  

No one who saw Ruby Duncan’s life story on film will be the same after viewing it, I’m convinced.  

An African proverb reminds us that,” It is women who hold up the sky.” 

Ruby held up her end, but she is now 90 years old.  Who will come behind her to fight for welfare rights in Baltimore, as the late Bobby Cheeks and Annie Chambers of Baltimore Welfare Rights once did during Ruby’s busiest days?

The post Ruby Duncan: the woman who gambled for welfare rights in Las Vegas and won appeared first on AFRO American Newspapers.

Governor Wes Moore’s inaugural celebration– the People’s Ball– was truly a spectacular affair, as Maryland’s First and Second Families made the night a perfect blend of culture and class. 

1. First lady Dawn Moore addresses the crowd gathered for the People’s Ball on Jan. 18 inside of the Baltimore Convention Center. 
2. Chris Tucker, who was spotted earlier in the day at Moore’s swearing-in ceremony, praised the great change that has come to Maryland at the People’s Ball. 
3. Internationally known artist Maxwell performs hits like “Bad Habits” and “Pretty Wings” for the crowd gathered to celebrate Maryland’s first Black governor. 
4. Governor Wes Moore makes his way through a sea of supporters just hours after being sworn in as the country’s only sitting Black governor. 
5. Governor Wes Moore had his son, James, by his side every step of the way on Jan. 18, sharing laughs and soft moments during both the swearing in ceremony and the evening ball.
6. Maryland’s First Lady and Governor, Dawn and Wes Moore, along with Lt. Gov. Aruna Miller and her husband, David Miller. 

Moore was introduced by celebrity journalist and activist Oprah Winfrey, and throughout the day those who know the new governor personally spoke about his integrity and courage to make change. 

1. Governor Wes Moore is the only sitting Black governor in the country and only the third person to be elected to the highest state office. (Photos by James Fields)
2. Governor Wes Moore looks out on the crowd gathered for his swearing in ceremony with his wife, Dawn.
3. Internationally- known comedian Chris Tucker made an appearance at both Gov. Wes Moore’s swearing-in ceremony in Annapolis, Md. and the People’s Ball in Baltimore.
4. Parijita Bastola of Severna Park, Md. delivers the national anthem.
5. There’s a new First Family in the Maryland Governor’s Mansion in more ways than one. Shown here, Governor Wes Moore with his wife, Dawn, and children, James and Mia.  (Photos by James Fields)
6. Wes Moore is sworn into office as his wife, Dawn, holds the bible of abolitionist Frederick Douglass. (Photos by James Fields)

Baltimore designers curate inauguration look for Maryland Governor and First Lady Moore

1. Kevin Scott, the man responsible for Governor Wes Moore’s inauguration look, tends to his clothing on Jan. 18 as Lt. Gov. Aruna Miller looks on.
2. First Lady Dawn Moore with designer Jody Davis, creator of the unforgettable Winter white cream inauguration look.
3. Governor Wes Moore has worked closely with the talented Kevin Scott to create a classy, clean-cut look in the public eye. The designer owns a store in Baltimore on Park Avenue and first worked with the governor when Moore needed to be styled for his first commercial. 
4. Jodi Davis makes sure the First Lady is prepared to make a statement on inauguration day, draped in a stunning ensemble that was created from scratch over a six-week period. 

Photographs courtesy of the staff

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Join the AFRO’s Editorial Team weekly on Mondays at Noon(ish) as they discuss highlights from the weekend and the week’s top stories – view videos here on Facebook and below on YouTube!

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