By Megan Sayles
AFRO Business Writer
msayles@afro.com

The Baltimore Office of Promotion and the Arts (BOPA) has issued a statement following city officials’ decision to terminate their contract with the arts and culture organization. BOPA raised concerns about the city’s plan to transition the quasi-government agency’s services in just 90 days and the risk it poses to the local arts community. 

The response came on Oct. 18, two days after the Baltimore City Mayor’s Office sent a letter to the organization, relaying its intent to cut ties as a result of BOPA’s financial instability. 

“We want to be transparent with you, our valued stakeholders, about the steps we have taken to ensure the organization’s stability and future success,” wrote BOPA leadership in the statement. “We also want to be clear about the concern we hold for how the decision to terminate the contract, without a clear plan of how to manage a 90-day transition, places our organization and the arts community at extreme risk.”

In the Oct. 16 letter sent to BOPA, Marvin James, chief of staff for Mayor Brandon M. Scott, explained that the organization’s financial instability cast doubt about its ability to meet obligations to the city and local arts community. 

Mayor Scott said in a statement that “ending the city’s contractual relationship with BOPA is not a decision taken lightly.” 

“We are taking this step after deep and careful consideration following several years of turmoil within the organization,” he said. 

BOPA had already been in talks with the officials within the Scott Administration since the organization’s cash troubles became public in recent months. 

“Members of our executive committee met with the Mayor’s Office and left with the understanding that the city no longer desired to continue its relationship with BOPA in its current form, largely due to public discussion surrounding our finances,” wrote BOPA in the statement. “We acknowledged that some elements of the city contract put a strain on stabilizing the organization, and we agreed a transition of services would be necessary. However, we explained that our cash position could be resolved if the city released payments aligned with the timing of our expenses, noting that the current quarterly payment structure was a contributing factor.” 

Hours before the Mayor’s Office sent the termination letter to BOPA, the organization held a board meeting, which ended in votes to execute layoffs and establish a transition taskforce to reassess the contract. In the statement, BOPA said during the meeting, it presented a balanced cash flow through the end of its contract term in June, which demonstrated a “proper” payment cycle and settled overdue receipts. 

The organization said it was alarmed by the timing of the city’s cancellation notice. 

“We are concerned by the timing of the city’s notification just hours after our board approved a responsible path forward, a path that was approved by the mayor’s representatives on our board,” said BOPA in the statement. “This reduces what could have been a productive and responsible 8-month transition to 90 days—without any indication of a plan on how to maintain the services provided by BOPA— places the arts community at significant risk and impacts the interim board’s ability to support a healthy transition in their volunteer capacity.” 

BOPA is charged with producing a number of Baltimore’s top events, including Artscape, the Baltimore Book Festival and Martin Luther King (MLK)  Jr. Day parade. It is also one of the main sources of funding and support for local creatives in the city, as it routinely deploys grants to artists and organizations. 

BOPA has encountered significant financial challenges in recent years. According to federal tax filings, the organization held more than $5.8 million in net assets in 2019. By 2022, after years of canceling events due to the public health emergency engendered by the COVID-19 pandemic, that number declined to $1.5 million.

Its former leader, Donna Drew Sawyer, also publicly clashed with Mayor Brandon M. Scott in January 2023 following the organization’s attempt to cancel the MLK Jr. parade. She stepped down from her post after Scott told the board he lost confidence in her ability to lead the organization. 

Rachel D. Graham, former director of external relations for the Reginald F. Lewis Museum of Maryland African American History and Culture, was named CEO in February 2024. She officially stepped into the role on March 15. BOPA also acquired a new interim board, which included representatives from the Mayor’s Office in March. 

The new leadership was charged with understanding the organization’s cash position and devising a long-term strategy for fiscal sustainability. This included hiring an outside accounting firm to review BOPA’s financials dating back to 2019. 

The cancellation of BOPA’s contract is subject to approval by the Baltimore City Board of Estimates on Nov. 6. If approved, BOPA will lose its quasi-government status but continue to operate as a private nonprofit organization. 

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By Colleen Long and Will Weissert
The Associated Press

JONESBORO, Ga. (AP) — Kamala Harris on Oct. 20 summoned Black churchgoers to turn out at the polls and got a big assist from music legend Stevie Wonder, who rallied congregants with a rendition of Bob Marley’s “Redemption Song.”

Harris visited two Atlanta area churches as part of a nationwide push known as “souls to the polls.” It’s a mobilization effort led by the National Advisory Board of Black Faith Leaders, which is sending representatives across battleground states to encourage early voting.

After services, buses took congregants straight to early polling places.

At both churches, Harris delivered a message about kindness and lifting people up rather than insulting them, trying to set up an implicit contrast with Republican Donald Trump’s brash style. With just 16 days left until Election Day, Harris is running out of time to get across her message to a public still getting to know her after a truncated campaign.

“There is so much at stake right now,” she said at the Divine Faith Ministries International in Jonesboro. “We understand for us to do good works, it means to do it in the spirit of understanding that our strength is not based on who we beat down, as some would try to suggest. Our strength is based on who we lift up. And that spirit is very much at stake in these next 16 days.”

Wonder led the crowd in singing his version of “Happy Birthday” to the vice president, who turned 60 on Oct. 20.  When he was done, she appeared to choke up, saying, “I love you so much.”

Wonder grinned and said “don’t cry” before telling the crowd how important it was for people to get out and vote.

“We’re going to make the difference between yesterday and tomorrow,” he said.

Harris later said that she “had to check off a whole big one” on her bucket list because of Wonder singing her a birthday song, which prompted the singer to spring up and lead the congregation in a quick verse of “Higher Ground.”

Pastor Donald Battle said of the election: “Georgia’s gonna be the state that turns it for the vice president.”

“Souls to the Polls” as an idea traces back to the Civil Rights Movement. The Rev. George Lee, a Black entrepreneur from Mississippi, was killed by White supremacists in 1955 after he helped nearly 100 Black residents register to vote in the town of Belzoni. The cemetery where Lee is buried has served as a polling place.

Black church congregations across the country have undertaken get-out-the-vote campaigns for years. In part to counteract voter suppression tactics that date back to the Jim Crow era, early voting in the Black community is stressed from pulpits nearly as much as it is by candidates.

In Georgia, early voting began on Oct. 15, and more than 310,000 people voted on that day, more than doubling the first-day total in 2020. A record 5 million people voted in the 2020 presidential election in Georgia.

Earlier Oct. 20, the Democratic presidential nominee attended New Birth Missionary Baptist Church in Stonecrest, where the congregation also sang “Happy Birthday.”

New Birth Pastor Jamal Bryant called the vice president “an American hero, the voice of the future” and “our fearless leader.” He also used his sermon to welcome the idea of America electing its first woman president, saying, “It takes a real man to support a real woman.”

“When Black women roll up their sleeves, then society has got to change,” Bryant said.

Harris referenced scripture as she promoted the importance of loving one’s neighbor, and then drew a contrast to the current political environment.

“In this moment, across our nation, what we do see are some who try to deepen division among us, spread hate, sow fear and cause chaos,” Harris told the congregation. “The true measure of the strength of a leader is based on who you lift up.”

One congregant who got a hug from Harris was 98-year-old Opal Lee, an activist who pushed to make Juneteenth a federally recognized holiday.

Harris is a Baptist. Her husband, Doug Emhoff, is Jewish. She has said she’s inspired by the work of the Rev. Martin Luther King Jr., and influenced by the religious traditions of her mother’s native India as well as the Black Church. Harris sang in the choir as a child at Twenty-Third Avenue Church of God in Oakland.

Her running mate, Minnesota Gov. Tim Walz, attended church in Saginaw, Michigan, and his wife, Gwen, headed to a service in Las Vegas.

Also Oct. 20 Harris sat for an interview with the Rev. Al Sharpton and was asked about the idea that she might see her support slipping among Black men — some of whom might be reluctant to vote for a woman for president. Former President Barack Obama suggested that might be an issue during a recent campaign stop for Harris in Pittsburgh.

Harris said she had garnered support from many key Black male leaders, adding, “there’s this narrative about what kind of support we are receiving from Black men that is just not panning out in reality.”

On Oct. 21, she will campaign with former U.S. Rep. Liz Cheney, R-Wyo., in the suburbs of Pennsylvania, Michigan, and Wisconsin.

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By D. Kevin McNeir
Special to the AFRO

As students in America reach high school, where they anxiously look forward to getting their driver’s license, enjoying their first encounter with “true love,” even dreaming about moving on to college and, for the first time, being on their own, there’s another obstacle they must face before receiving their diploma: conquering the works of William Shakespeare. 

Widely considered to be the preeminent dramatist and one of the most influential writers in the English language, Shakespeare, also known as “The Bard,” stands at the top of the Western canon of great literary figures.  

But for many students, particularly those of color or those who come from schools that lack adequate financial and academic resources, Shakespeare looms like an evil specter – a ghostly figure with words they struggle to understand and with characters and storylines that bear little resemblance to the world in which they live. 

However, the times, they are a-changin’. At least that’s the case in Washington, D.C., where the Folger Theatre, which is affiliated with Folger Shakespeare Library, is currently offering a jaw-dropping, fresh take on one of The Bard’s most beloved tragedies, “Romeo and Juliet.”     

Raymond O. Caldwell, born in Germany to a Black man and German woman, and an accomplished, award-winning director and producer, makes his directorial debut at the Folger. And while remaining true to the text, Caldwell dismantles any preconceived notions one might have about Shakespeare and his love story of two teens which, because of political tribalism and their families’ thirst for influence and power, ends tragically. 

As the curtain rises, the chorus, garbed in hooded black robes, takes center stage to speak the prologue, still delivered within the safe confines of the literary form familiar to Shakespeare and traditionally employed in 17^th century poems of love – the Petrarchan sonnet. But that’s where the similarities end. 

From then on, the director shocks our senses with a Romeo (Cole Taylor) and Juliet (Caro Reyes Rivera) that are both people of color; Juliet’s nurse who, like Juliet and her mother, speak both English and Spanish; and characters who indulge in the frequent, misguided use of both alcohol and cocaine. 

The rear of the stage is dominated by screens which project images and words – exemplifying the dominance of social media and other modern technological advances, like Iphones, on society – which constantly juxtaposes with the rhythmic cadence of Shakespeare’s classical iambic pentameter. For example, some of the playwright’s most enduring lines are delivered as the characters live chat, post messages on their social media accounts and text one another – sometimes, while riding the District’s Red Line train on their way to “Verona.”

Perhaps these changes to the play are so easily embraced by the audience because they represent our reality – the world in which we live, work and play. 

As for the actors, themselves, they further illustrate 21^st century American society with a cast of Black, White, Asian and Hispanic thespians, interracial marriages and bilingual speakers. Some major characters, like Tybalt and Mercutio, are recast as women, straying from Shakespeare’s original version of the roles. 

On his website, Caldwell describes himself as one who’s “drawn to the grandiose and the grotesque, the transcendent and the trashy. My aesthetic often pays homage to drag, club-kid, queer, Black, Filipinx and pop culture.”  

As for the staging of the play, Caldwell situates “Romeo and Juliet” in a fictitious world reminiscent of Washington, D.C., as he examines the violent consequences when systems like family, religion and government fail to protect and guide society’s youth. 

“As the young lovers navigate their world of chaos and conflict, our version of the play challenges audiences to grapple with how wealth, class, substance abuse, mass media consumption, politics and tribalism shape our capacity for love and exacerbate violence,” Caldwell said in a statement.  

Caldwell added that his reimagined “Romeo and Juliet” is part of a broader movement to make the arts more inclusive.

“Playwrights, designers, directors, universities and regional theaters are working together to redefine the theatre for the age we live in . . .,  making theatre accessible to communities that long have been disenfranchised and are giving voice to stories that have long woven the American tapestry but who have gone unheard,” he said. 

Karen Ann Daniels, the theater’s artistic director and director of programming for the Folger Shakespeare Library, said one of the reasons why “Romeo and Juliet” was chosen for the current season is because of its timeliness due to the election.

“Because we, as well as the Folger Shakespeare Library, are within close proximity to Congress, the Capital and the Library of Congress, that means we can have conversations about democracy in ways that others cannot,” she said. “We seek to pique one’s while never pressing visitors to our complex to choose sides.” 

Daniels also said the classic play “has the widest appeal.” 

“People seem to see themselves in the world of the play,” she added, although there is some disconnect. 

“Shakespeare continues to be studied in schools and his works are even embedded in American culture – from cartoons to movies,” Daniels said. “However, one of the reasons why many youths and adults alike don’t understand Shakespeare is because of the way he’s presented – he’s not always friendly to younger or ethnically diverse communities and audiences.”

Part of the ethos of the Folger Shakespeare Library – and the theater by association – is making the famed playwright more accessible to modern-day audiences. And recent renovations to the Library, along with reimagined productions like “Romeo and Juliet” will, hopefully, draw morw people through the doors and advance their mission, Daniels added.

“This play has it all – its cast is multicultural, the show is done bilingually and there are mixed relationships, all of which serve as a metaverse of the world. We’ve had several groups of high school students from the area come see the show and among their comments, I’ve heard them say that with the use of social media infused in the production, it’s like watching a movie. As they go on to college, or out into the workforce, we hope they’ll understand that this institution is for them,” she said. 

“This is the work we do: We present the plays of Shakespeare. But we do so because we want people to respond to him and his works while opening him up to people in ways that make them feel like they are not small but rather part of his world.”

For more information about “Romeo and Juliet” or to visit the newly renovated Folger Shakespeare Library, which anchors the world’s largest Shakespeare collection, visit www.folger.edu. “Romeo and Juliet” continues through Nov. 10 at the Folger Theatre. 

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By Stacy Brown
NNPA Newswire

Rapper T.I. and singer Tameka “Tiny” Harris have emerged victorious in a major lawsuit against toy company MGA Entertainment, securing a $71 million judgment. The couple, alongside their music group OMG Girlz, accused MGA of violating their intellectual property rights by copying the group’s image and style for the company’s popular L.O.L. Surprise! O.M.G. dolls.

The case, which spanned over three years, concluded when a jury ruled in favor of the Harris family. According to People magazine, Tiny, 49, was elated as she shared her thoughts in an Instagram Live video outside the Santa Ana, California federal courthouse. 

Reflecting on the years-long legal battle, she said, “It was a hell of a fight. We couldn’t be more happy.”

Tiny expressed profound gratitude to the jurors, who delivered a unanimous verdict. “They heard our story and they knew we wasn’t lying. It’s amazing,” she said.

The lawsuit, initiated in 2020, focused on more than a dozen L.O.L. Surprise! O.M.G. dolls that strongly resemble the OMG Girlz, a group Tiny formed in 2009 with her daughter, Zonnique Pullins, along with Bahja Rodriguez and Breaunna Womack. According to the court, MGA had “infringed on the trade dress and misappropriated the name, image and likeness” of the group, particularly their outfits and hairstyles.

People magazine noted that the jury awarded $53.6 million in punitive damages in addition to the initial settlement, an outcome that surprised even Tiny. 

“I mean, wow. They did more than I thought they would,” she told Rolling Stone after the verdict. “I would have been happy with whatever. They blessed us more than beyond.”

The OMG Girlz themselves testified during the three-week trial, recalling specific public events and photos where the dolls copied their unique wardrobe and style. 

Womack shared her emotional reaction, telling Rolling Stone, “I’m so grateful and overwhelmed with joy.” 

Pullins added that when the jurors unanimously recognized the group’s memorable style, “We all silently cried.”

T.I. also reflected on the case, criticizing MGA for attempting to dismiss the lawsuit as a “money grab.” 

“That kind of condescension comes from when you’re not really in touch with the reality of culture,” he said in an interview with Rolling Stone. The rapper emphasized that MGA’s actions were exploitative, stating, “They were the ones that came and ripped us off, and expected us to not have the audacity to stand up and speak for ourselves.”

Despite MGA’s founder, Isaac Larian calling the claims baseless and referring to the Harris family as “extortionists,” the jury’s decision firmly supported the OMG Girlz, reinforcing the importance of protecting creative and cultural expression.

“We did this for the culture,” Tiny said outside the courthouse, a resounding declaration of their victory.

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By Aria Brent
AFRO Staff Writer
abrent@afro.com

Deyane Moses is a woman of many passions, one of the most notable being art. For nearly a decade, she’s been dedicated to researching, displaying and honoring Baltimore’s Black history and culture. 

In a place like Charm City, where rich Black history is preserved and shared by many organizations, it takes individuals like Moses to push the city forward by honoring its storied past.

The AFRO recently caught up with the artistic activist about the work she’s doing beyond Afro Charities, her experience as an archivist and what’s next for her as an exhibit curator.

AFRO: How did you get your start as an art and exhibit curator ?

DM: ​​I came into this field unknowingly.  I used to be in the military as a broadcast journalist and when I got out of the military, I came back home to the D.C., Maryland and Virginia  (DMV) area. I attended school at MICA the Maryland Institute College of Art to pursue photography. However, while I was there, I noticed that the demographic of the school did not look anything like the city. I started looking into their history and I ended up utilizing the AFRO archives to uncover history that talked a lot about the racism at the school from the early 1800’s until 1954, when schools were desegregated. I started an archive database for that,  along with making an exhibition and having a demonstration talking about that history, and it kind of blew up. I didn’t know I was curating– I was simply moving intuitively. 

When I was  working on the Maryland Institute Black archives, which is the project I started while I was at MICA in undergrad, I also ended up starting my own company called Blackives to assist with research and making exhibitions with the community at large surrounding Black history. So a lot of work that I did there was creating programs mostly thinking about preserving the legacy of Black artists in Baltimore. Once I found out what curation actually was, I went on to pursue my master’s degree at MICA and I got my Master of Fine Arts in curatorial practice. I continued to work on exhibitions and learn more about the craft and also more about archives. And then that’s when I ended up connecting with Savannah Wood, the executive director of Afro Charities, and we’ve just started working from there.

AFRO: What has been the most challenging part of being an exhibit curator ? 

DM: I would say it always comes down to funding. In Baltimore, I’ve made so many connections. We have so many friends and we get a lot of donations, but at times you do need real funding and people should be paid. Artists should be paid. We want to be able to pay people and put on great programs and exhibitions. 

Funding is important for my archival work, but it has been really tough as an independent curator. I think that’s one of the toughest things– finding financing and the other thing is time. 

As an independent curator I’m working on my projects and working at my full time job. I also have my passion projects that I want to work on. Finding that balance between time and funding is always going to be difficult.

AFRO: This year a series of museums across the city worked with MICA students to curate exhibits dedicated to textile artists Elizabeth Talford Scott.Can you talk to me about the work you did with the Elizabeth Talford Scott initiative? 

DM: It was a life changing experience, I can tell you that for sure. It was life changing to come back to be a teacher. I now have mad respect for teachers, even more than I did before. The effort that they have to put in to work with so many students– while also having to collaborate with so many outside organizations, it’s a lot of work! 

The class I taught was not normal by any means. Usually it’s a group of students collaborating with one organization, but this had multiple venues, multiple directors, multiple students, different personalities and this teaching experience really taught me a lot about myself. It was definitely a switch from being a teacher to being a student. 

As for honoring Elizabeth Talford Scott, I learned more about her. I thought I knew about her work, but I can say that when you start to curate and you’re storytelling. While you’re pulling together objects to talk about that story, those objects– they start to really speak to you.I feel like a lot of people in the class were starting to have connections with Elizabeth and her pieces. To honor her was amazing. To be a part of that and to see her legacy grow, and to be a part of that, that’s one of the things that pushes me every day. I didn’t always see Black people depicted as artists, so to see the work that she was doing and to see her tribe, to learn more about her life– I see a lot of herself within me. 

AFRO: What does your dream exhibit look like ?

DM: How much do I want to say? I’m still dreaming!  I have big dreams! Let’s see, how can I phrase it without giving all of it away? I’m very much interested in spaces, but I’m also very interested in extended spaces– extended reality. To be specific, I see the future with technology and I see where we’re going and I want to be a part of that. I’ll be honest, I’m really not sure what it’s going to look like in the future in terms of curating in these digital spaces but my dream space is a digital space that’s accessible to all and accessible on a variety of different devices. My dream exhibition would take place in a digital space, involve Black folks, involve Black history and definitely involve Baltimore– that would be my dream exhibition.

AFRO: What’s next for you as an exhibit curator, as a creative director and an artist?

DM: ​This is a new role for me as the director of partnership and programs for Afro Charities, but I’ve always represented the AFRO and Afro Charities, no matter where I go. People can expect to see a lot of programming from Afro Charities in 2025. Next year we have some great innovative partnerships coming from Afro Charities. 

As for my independent practice as a curator, Blackives is going to make a comeback. I’m revamping Blackives to go back and research for different organizations and different community groups to help them uncover their history. Also, Tom Miller week is going to be bigger and better. I’m hoping to partner with some other organizations who have him in this collection. I’m also currently working in the technical field. I’ve purchased a new custom computer  that I’ve been really working on getting into this extended reality world. Whether it’s virtual, mixed reality or augmented reality– I’m really trying to learn and get into this new field. 

I want to work with other like minded individuals. The year 2025 is going to be popping for me. I’m really excited for my role at Afro Charities, but also for my personal passion projects and my side consulting business. 

*This article has been edited for clarity.

The post AFRO Spotlight: Meet Deyane Moses– exhibit curator, artistic director, archives extraordinaire appeared first on AFRO American Newspapers.

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.” 

The post Author Shadra Strickland hosts a read-along for ‘Jump In!’ at Enoch Pratt Free Library! appeared first on AFRO American Newspapers.

By Black PR Wire

(Black PR Wire) HOLLYWOOD, Calif. — Nickelodeon is letting kids’ voices be heard this election season with the return of its Kids Pick the President “Kids’ Vote” poll and a brand-new special debuting Monday, Oct. 28. Beginning today, kids can cast their vote for who they want to be the next president at kidspickthepresident.com. The results of the poll will be revealed during the half-hour special, hosted by Nate Burleson (CBS Mornings, NFL Slimetime, The NFL Today) and his 14-year-old daughter, Mia Burleson (NFL Slimetime). The Kids Pick the President “Kids’ Vote” is an informal non-scientific poll, meant for entertainment purposes only.

The Kids Pick the President special will premiere Monday, Oct. 28, at 8 p.m. (ET/PT), on Nickelodeon and be available day and date on Paramount+, Nickelodeon YouTube, Nick.com and the Nickelodeon Pluto TV channels (Nick Pluto, 90’s Kids TV, Totally Teen). The special will also be available the following day on Nick On Demand.

“The opportunity to host the Kids Pick the President special, alongside my daughter Mia, has opened up our whole family to conversations about the importance of standing up for what we believe in and the power of democracy,” said Nate Burleson. “As parents of three, it has always been a priority for me and my wife Atoya to teach our kids that their voices matter—that they not only need to get involved, but stay involved with the issues and topics they care about.”

“We believe kids of all ages deserve to be seen and heard, and we’re proud of the role that our Kids Pick the President initiative has played in elevating their voices around important issues in their lives for the last nine election cycles,” said Jean Margaret Smith, Senior Vice President,  Nickelodeon Public Affairs. “Through the personal stories of the families featured in the Kids Pick the President special, we hope to empower kids to champion the causes they care about, and inspire them to impact change in their communities and beyond.”

After kids cast their vote for who they want to be the next President of the United States at kidspickthepresident.com, they can download an “I Voted” badge, and learn more about the candidates and electoral process. To further support family conversations in the home, Nickelodeon has partnered with NAMLE (The National Association of Media Literacy Educators) on a guide to provide information and resources for parents around media literacy that will also be available on the site.

Told from a uniquely kid-led POV, the half-hour Kids Pick the President special will platform the issues young people care about most in the 2024 U.S. presidential election. Kids from all sides of the political spectrum will share their personal stories and opinions on topics, including the economy, future of AI and technology, and health.

Nickelodeon’s Kids Pick the President is part of Our World, the brand’s global prosocial initiative to inspire kids and provide them with tools to activate their individual and collective agency. Nickelodeon’s Our World is supported by a coalition of partners, including 4-H, Afterschool Alliance, Ashoka, The Aspen Institute, Association of Children’s Museums, ChangeX and Jack & Jill of America, Inc. Caregivers and kids can access resources and more information at www.nickourworld.com.

Kids Pick the President is produced by Nickelodeon Productions and overseen by Ashley Kaplan, Executive Vice President, Nickelodeon Unscripted & Digital Franchise Studio; Paul J Medford, Vice President, Unscripted Current Series; Luke Wahl, Vice President, Unscripted Creative; and Jana Blumenthal Vice President, Production. Luke Wahl and Ben Plumier serve as Executive Producers.

Over its 45-year history, Nickelodeon has built a legacy of addressing important social issues and galvanizing kids through thoughtful initiatives and programs. Whether encouraging kids to be agents of change through The Big Help and Together for Good; encouraging them to get active through the Let’s Just Play grants program and Worldwide Day of Play; educating kids about the electoral process and its significance through Kids Pick the President; showcasing tangible steps kids can take to help the environment through The Big Green Help; celebrating kids and teens who are going above and beyond to help others through the Nickelodeon HALO Awards; or preparing preschoolers for Kindergarten through Beyond the Backpack, Nickelodeon has inspired millions of kids across the globe to take action to improve their communities, their lives and the world around them.

Nickelodeon, now in its 45th year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The brand includes television programming and production in the United States and around the world, plus consumer products, digital, location-based experiences, publishing and feature films. For more information or artwork, visit http://www.nickpress.com. Nickelodeon is a part of Paramount’s (Nasdaq: PRA, PARAA) global portfolio of multimedia entertainment brands.

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By Ericka Alston Buck
Special to The AFRO

The James E. Lewis Museum of Art (JELMA) at Morgan State University has opened a landmark exhibition titled, “Keeping the Culture: The Last Twenty-Five Years,” running from Sept. 29 to Dec. 13, 2024. 

Curated by Robin Cherry Howard, this exhibit showcases an extraordinary collection of African American art, highlighting the museum’s acquisitions over the last 25 years. Through an array of paintings, sculptures, photographs and works on paper, the exhibition celebrates the creativity, resilience and cultural identity of Black artists, exploring key themes like history, social justice and the African-American experience.

The exhibit serves as a powerful testament to the evolving narrative of African-American art. Gabriel Tenabe, director of JELMA, emphasized this in his foreword, noting, “Art tells stories, it provokes thought, and it bridges cultures across time. Dr. James E. Lewis understood the power of art to connect us to our shared histories better than anyone.” 

This vision is evident throughout the exhibition, which honors the contributions of African-American artists who have shaped and transformed the creative landscape over the past two-and-a-half decades.

“The artists’ contributions are vibrant and filled with dynamic energy,” said curator Robin Cherry Howard. “These works provoke thought, inspire connection and engage every sense.” 

“Keeping the Culture” features works from master artists like Elizabeth Catlett, Ed Clark, Melvin Edwards, Sam Gilliam, Valerie Maynard and Faith Ringgold, all of whom played critical roles in amplifying African-American voices in the art world. 

Their works in this collection address issues of ancestry, the Middle Passage, slavery, human rights, cultural trauma and civil rights, making their presence in this exhibit both necessary and poignant. These artists’ pieces are more than just displays; they represent movements of resistance, power and identity in a society that often sought to silence them.

Local Baltimore legends also shine in the exhibit, with significant contributions from artists such as Robert Houston and Oletha DeVane. Also included are Alma Roberts and Ernest Shaw, both of whom are alumni of Morgan State University. Their works are complemented by newer voices, such as Schaun Champion and photographer Devin Allen, whose powerful images gained national attention following the 2015 Baltimore Uprising. Allen’s photograph of the protests, which appeared on the cover of Time magazine, depicted a young demonstrator fleeing from a squad of police officers wearing face shields and wielding clubs. The younger artists add an essential part to the exhibit, representing the intersection of art and activism in today’s social landscape.

“This exhibit is so special to me. I am deeply honored to have my work included along with so many giants of the art world. The very focus of the exhibit, ‘Keeping Our Culture,’ is a major focus of my most recent body of work,” said Alma Roberts, one of the contributing artists. 

“To have my artwork hanging in this museum, at my alma mater, makes it that much more special. JELMA is truly a hidden treasure, and this exhibit, including works from the museum’s permanent collection, highlights just how important it is to the continuum of art institutions in this city and this state.” Roberts continued.

This exhibit is an emotional and sensory journey. Visitors walking through the museum will experience a deeply immersive environment. The space is alive with color and emotion, with artworks that provoke reflection and dialogue about past and present struggles and triumphs.

“Keeping the Culture” is an exhibit that  is particularly impactful for the African-American community, as the space feels like a sanctuary for Black voices. The walls are adorned with powerful imagery, from Ernest Shaw’s portrait of a squeegee kid—a figure often emblematic of concentrated poverty and sometimes violence in Baltimore’s streets—to haunting depictions of the lynching of Black ancestors. One standout piece shows Harriet Tubman in all her defiant strength, while another portrays the Rev. Dr. Martin Luther King Jr. in a jail cell, highlighting his fight for civil rights. Each piece calls the viewer to reflect on the triumphs and tragedies that define African-American history.

For many, the exhibit is more than a collection of art. It is a celebration of Black identity and culture, housed within a space that feels uniquely designed to honor that heritage. The energy within the exhibit is one of remembrance, reflection and celebration, as the stories told on the walls resonate deeply with the audience.

As visitors move from one piece to the next, they are not merely observing art, they are engaging in a cultural conversation. Whether it’s the raw social commentary in Devin Allen’s photographs or the colorful depictions of history by Elizabeth Catlett, each artist contributes to the rich tapestry of the African-American experience.

“Keeping the Culture: The Last Twenty-Five Years” is a must-see exhibit for anyone looking to connect with the profound beauty and history of African-American art. As JELMA’s latest showcase, it stands as a tribute to both the past and the future of Black artistic expression. The museum is offering free admission for all visitors, and the exhibition will be open until Dec. 13, 2024.

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By Nyame-kye Kondo
Special to the AFRO

Chesapeake Shakespeare Theatre’s production of  “Joe Turner’s Come and Gone” is now in its final weekend. 

The play is the second installment in a series written by August Wilson, called “The American Century Cycle,” (also known as the “Pittsburgh Cycle”), which chronicled the Black experience in America during the decades of the 20th Century. 

The current production of “Joe Turner’s Come and Gone” is directed by KenYatta Rogers, and is part of a three-year initiative in Baltimore aimed at celebrating  Wilson. Theaters around the city are producing all 10 of Wilson’s plays chronologically for the first time in history. The first was “Gem of The Ocean,” which premiered at Arena Players in April.

“Baltimore has a vibrant, but siloed theatre community,” said Lesley Malin, producing executive director of the Chesapeake Shakespeare Company, in a statement. “Seemingly, there has never been a time when Baltimore theatres have worked together for a common artistic goal – a festival of productions.  Until now…”

“Joe Turner’s Come and Gone” is a piece of work that leaves not only space for the story of Blackness to be told, but for it to be reinterpreted for years to come.

August Wilson’s writing is the epitome of good storytelling. From the dialogue itself to the choices made by Rogers, Wilson’s writing is and forever will be, a stellar guide.

Written in 1984 and published and staged for the first time in 1986, “Joe Turner’s Come and Gone” is set in 1911 and takes place primarily in a boarding house during the Great Migration, a time where African Americans moved in droves from the American South in search of opportunities in the big cities of Chicago, Detroit and Pittsburgh. It follows the nomadic journey of mysterious traveler Herald Loomis, played by Josh Wilder, and his daughter Zonia Loomis, portrayed by young actress Kenya Mitchell, as they search for his long-lost wife in Pittsburgh. 

The varied and colorful characters Loomis encounters in the boarding house, each on their own journeys, become important catalysts for a cathartic release. The result is a vivid exploration of spirit, transcendence and the human ties that bind. 

Reimagined in the intimate but unique space of the Chesapeake Shakespeare Theatre in Downtown Baltimore, the set design includes a small kitchen, with a dining table, and a stairway that leads to an upper level. Rogers’ directorial vision is complimented by the unique stage lighting, illuminating the space while the intentionality of the set subtly acts as a necessary intermediary for character development. 

“Chesapeake Shakespeare’s thrust stage provides the perfect space to explore the themes of faith and sacrifice, isolation and belonging, bearing witness to the resilience, creative spirit within the Black American community,” Rogers noted in a press release. “Redemption comes from within and without, and utilizing elements of design and performance, we are crafting an immersive experience that connects ancestor to performer, performer to audience member, and audience member to one another as well as to themselves.”

It is obvious that Wilson’s words resonate with the actors, with thespians such as Jefferson A. Russel commanding the audience’s attention in the role of Seth Hall, the owner of the boarding house. 

Mecca Verdell, a staple of the regional Arts scene, plays the character Molly Cunningham. Verdell spoke to the power of Wilson’s words:

“August Wilson was able to write about communities and how they operate in a real, heartfelt and powerful manner. The characters in each decade are truly human in whatever circumstances they are. I think everyone should absorb Wilson’s work because it’s Black stories that are unapologetically Black without explaining what it means to be Black to Black people,” she said. “You have to pay attention to everything that August Wilson is putting inside the writing. Nothing is by accident. As a poet myself, I was able to pick up on how August Wilson layered imagery and metaphors …The play is much like a poem to me. A poem has repeating verses that keep finding themselves until it has new meaning. Much like these characters.”

Verdell told the AFRO that she was familiar with Wilson’s plays via the work of Phylicia Rashad and Viola Davis, who have popularized the playwright’s work for younger generations. However, this is the first time she’d been in a play written by Wilson.  

“This feels like one of those moments where all the work I’ve done as a performer has led me to this,” said Verdell. “I had a mission this year to only do Black, contemporary work and being a part of this August Wilson Celebration means so much. This work gives me a sense of freedom to be as authentic as I like —being a Black actor— while also making me a student with every performance we have.”

It’s young artists like Verdell that link younger generations to Wilson’s timeless work. 

“He really depicted what was going on in the 1900s and how slavery destroyed the Black family,” said theater patron Damien Maddox. “All of his plays depict something that was relevant then and is still relevant now. It’s like we can’t break the cycles.” 

The post ‘Joe Turner’s Come and Gone’  in final weekend at Chesapeake Shakespeare Theatre appeared first on AFRO American Newspapers.

By Megan Sayles
AFRO Business Writer
msayles@afro.com

Start off your October with these free events in the D.C., Maryland and Virginia area. 

Maryland 

Sweeten the Vote

Head to Sydney’ Ice Creams in Northeast Baltimore to register to vote and enjoy a free scoop upgrade. The Black-owned shop has teamed up with Black Girls Vote to make sure Baltimoreans are prepared to exercise their right on Nov. 5  

Date: Oct. 12

Time: 4 p.m. – 8 p.m. 

Location: Sydney’s Ice Creams 

                  3432 Belair Rd. 

                  Baltimore, MD 21213 

Maryland Women’s Small Business Celebration 

October marks National Women’s Small Business Month. In honor of observance, the Maryland Governor’s Office of Small, Minority Women Business Affairs will host a celebration for the state’s women entrepreneurs. Diedre L. Windsor, founder of the Windsor Group, will serve as the keynote speaker and share tips on fostering healthy small business practices. Attendees will also have the opportunity to learn about state procurement opportunities.  

Date: Oct. 10

Time: 9:30 a.m. – 1 p.m.

Location: Montgomery Park 

                 1800 Washington Boulevard 

                 Baltimore, MD 21230 

HUD-approved Foreclosure Prevention Workshop

To support those who have fallen behind on their mortgage or encountered challenges with their mortgage provider, the St. Ambrose Housing Aid Center will lead a foreclosure prevention workshop. The session will feature counselors and legal experts approved by the Department of Housing and Urban Development (HUD). Attendees will learn about the foreclosure timeline, opportunities for prevention, credit management and local resources. 

Date: Oct. 10 

Time: 2 p.m. – 4 p.m. 

Location: St. Ambrose Housing Aid Center 

                 321 East 25th St. 

                 Baltimore, MD 21218

D.C. 

Zenith Gallery Presents: We Are Not Going Back

Sparked by Vice President Kamala Harris’ run for president and her selection of Governor Tim Walz as a running mate, this exhibit showcases artwork that’s been created to inspire hope for the future. The show features a range of media, including paintings, sculptures, mixed media and prints. 

Date: Daily through Oct. 12 

Time: 12 p.m. to 6 p.m. 

Location: Zenith Gallery 

                 1429 Iris St. NW 

                 Washington, DC 20012

A Speakeasy Evening 

The National Museum of African American History and Culture invites the Black community, members of the LGBTQIA+ community and allies to an event honoring the 100th birthday of acclaimed writer James Baldwin. The event nods to the speakeasy clubs of the Harlem Renaissance. It explores the contribution of discos as an inclusive, safe space to dance and include a panel discussion, art-making, dancing and food. 

Date: Oct. 10

Time: 6:45 p.m. – 9:30 p.m.

Location: National Museum of African American History and Culture 

                 1400 Constitution Ave. NW 

                 Washington, DC 20001

Grounded: Plant Shop, Cafe, and Wellness Studio Grand Opening

Grounded welcomes all to their new space in Southeast D.C. It triples as a plant shop, wellness studio and cafe, making it the perfect place to wind down after a busy day. The grand opening will be filled with activities as visitors are invited to pick out plants,enjoy the cafe and engage in wellness activities.

Date: Oct. 12

Time: 12 p.m. – 6 p.m.

Location: Grounded 

                 1913 Martin Luther King Junior Avenue Southeast 

                 Washington, DC 20020

Atlanta Fine Art Print Fair

Black Art in America’s (BAIA) annual Atlanta Fine Art Print Fair makes its first appearance in Washington, D.C. The multi-day market presents works from legacy and contemporary African-American printmakers, including D.C.-based artists Percy Martin, Lou Stovall, Ed McCluney and David Driskell. Attendees can talk to the artists and attend a panel conversation on Oct. 12 from 2 p.m. to 4 p.m. 

Date: Oct. 11 – Oct. 13

Time: 1 p.m. – 4:30 p.m. on Oct. 11, 12 p.m. – 8 p.m. on Oct 12 and 12 p.m. to 4 p.m. on Oct. 13

Location: 1201 K Street Northwest 

                 Washington, DC 20005 

2024 Free Women, Wellness and Wealth Conference 

Wealth strategist Deborah Short presents a summit addressing women’s financial and physical health. The Women, Wellness and Wealth Conference features conversations on retirement planning, mental health care, steps to take if a medical physician dismisses your concerns and creating generational wealth. Attendees have the chance to win door prizes, money bags and free manicures and pedicures.

Date: Oct. 19 

Time: 8:30 a.m. – 1 p.m.

Location: The Harborside Hotel 

                 6400 Oxon Hill Rd. 

                 Oxon Hill, MD 20745

Black on the Block D.C.

Join Black the Block D.C. at the Nationals Park Field Plaza and enjoy food, drinks, music, workshops and plenty of activations. There will be giveaways as well as special guests. The event is in collaboration with Walmart’s Black & Unlimited Shoutout and AT&T Dream in Black.

Date: Oct. 20

Time: 1 p.m. – 7 p.m. 

Location: Nationals Park Field Plaza

                 1500 South Capitol Street SE 

                 Washington, DC 20003

Virginia 

Black Maternal Health Legislative Summit

The Virginia Black Maternal Health Caucus, Virginia House of Delegates Speaker Don Scott and Senator L. Louise Lucas take on the health crisis facing Black mothers across the country. The summit assembles legislators, experts and stakeholders to identify challenges and opportunities in improving Black maternal health. 

Date: Oct. 18

Time: 8 a.m. – 3 p.m. 

Location: Virginia General Assembly 

                 1000 Bank St. 

                 Richmond, VA 23219

“Souls to the Polls”  by the Fairfax County Branch PAC Committee

FREE Fish dinner with “I Voted” Sticker

Date: Sunday, October 27th, 2024 

Time: 1:00 p.m. – 5:00 p.m.

Location: Mount Vernon Governmental Center

2511 Parkers Ln

Alexandria, VA 22306

Hampton NAACP 4th Annual Souls to the Polls March and Celebration

Go early voting alongside your fellow citizens with the Hampton NAACP’s Annual Souls to the Polls Celebration. After marching to the Hampton Registrar’s Office, residents can enjoy live music, food and talks from guest speakers. Early voting ends Nov. 2 in Virginia. 

Date: Oct. 13

Time: 1 p.m. – 5 p.m.

Location: First Baptist Church 

                 229 North King Street 

                 Hampton, VA 23669

The post Upcoming events in the D.C., Maryland and Virginia area appeared first on AFRO American Newspapers.

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 AFRO Staff

On Oct. 4, Morgan State University held its 40th annual fundraising gala at Martin’s West, located in Baltimore. The gala is an annual celebration of the historically Black university and supports scholarship funds for current and prospective students. In attendance were Baltimore City Mayor M. Brandon Scott and his new wife, Hana, with baby bump number two; WBAL TV Co-Anchor Jenyne Donaldson and Con. Kwesi Mfume (D-Md.-07), his wife, Tiffany Mfume and a host of community leaders, residents and alumni.

The post Morgan State University hosts 40th Homecoming Gala appeared first on AFRO American Newspapers.

By Mekhi Abbott
Special to the AFRO
mabbott@afro.com

Generations of Morgan State University students and alumni flooded the historically Black college’s Northeast Baltimore campus on Oct. 5 to celebrate its homecoming. Highlights of the week included a homecoming concert on Oct. 3, a pep rally on Oct. 4 and the parade and football game on Oct. 5. 

“My favorite part of homecoming for me is seeing the advancement,” said Tara Carter, a two-time graduate of Morgan State University. “We hear a lot about the big schools, but when you see just how much Morgan has been doing as a top research institution for Maryland, it’s amazing for me to see this.”

“I am big on spending time with friends,” said Carter. “We didn’t even make it to the football game, but I still bought tickets to make sure we are supporting our teams.”

Dr. David Wilson, president of Morgan State, in an Oct. 6 letter sent to the Morgan State community, praised those who made the celebration a time to remember. 

“Homecoming 2024 invited our entire community to fully embrace Morgan’s rich and enduring legacy, and I am proud to say we did just that,” said Wilson. “Generations of Morganites converged on our campus, embracing the rites, rituals and traditions that unify us as one family.”

“Of course, the Bears’ victorious football game was the centerpiece of Homecoming. We estimate that more than 25,000 people were on Morgan’s campus…with several thousand tailgating in designated areas,” he continued. “Thanks to our comprehensive security plan and advanced preparation, including a strengthened presence of uniformed officers and security personnel, we were able to effectively manage the challenges posed by the very large crowds.”

Homecoming week for the Morgan State Bears kicked off with a performance by BET Award-nominated artist Sexxy Red on Oct. 3. The following night, Morgan State held a pep rally to highlight all of the varsity teams on campus. 

“Morgan has a rich history,” said Kendra Woolridge, a director for the U.S. International Development Finance Corporation and owner of a multi award- winning vegan nail polish company, Janet and Jo. “We have the first HBCU collegiate lacrosse team in the nation. It’s stories like that that need to be amplified.”

On the gridiron, the Morgan State Bears (3-3) dominated the Lincoln University Lions, from Pennsylvania, 41-0. Wide receiver Andre Crawley led the way with 134 total yards, six catches and two total touchdowns. He scored one touchdown receiving as well as passing for a 21-yard touchdown. Running back Myles Miree also contributed with two touchdowns himself, both on the ground. 

“Homecoming has been great for me. It’s my first homecoming. I am a freshman and I’ve been to the pep rally. I also went to the skate and laser tag night that was on Oct. 3,” said Renee Salter, who is studying psychology.

In efforts to ensure the safety of all attendees, Morgan State administration and leadership made significant security enhancements for the 2024 homecoming activities, including over 3,100 camera views for surveillance purposes, AI-supported weapon detection and plate-reading technology. On Oct. 5, the “official Homecoming day,” all campus buildings and dorms closed at 3 p.m. and the campus officially closed at 7 p.m.

While the security measures were bolstered, dirt bikers descended on the area after the game concluded, further complicating traffic when they caused an accident. And Baltimore Police Department officers responded to a shooting that took place around midnight, after all official homecoming activities were finished. 

Wilson acknowledged the incidents in his letter, stating that “illegal dirt bike riders—unaffiliated with Morgan—engaged in reckless behavior along Hillen Road and E. Cold Spring Lane, leading to a serious traffic accident.” 

The university president said that the “off-campus shooting” was “unrelated to Morgan.” 

“While these events are deeply disappointing, I want to be clear: they have no connection to our university other than their proximity,” he wrote. “Rest assured, I have been in contact with Mayor Scott, and members of my team have been in constant communication with the Baltimore Police Department.”

“Today, I am pleased to report that there were NO violent incidents on campus throughout the week. I want to extend my sincere thanks to Chief Lance Hatcher, the MSUPD, and all the security personnel, for their exceptional work in executing the Homecoming Security Plan and ensuring campus safety.”

Overall, the experience was an overwhelmingly positive event– one for the history books. For some Morgan State graduates, the weekend represented their first time back in Baltimore for a homecoming in several years. 

Silver Spring, Md. native, Shantá Reid, now a paralegal in Washington, D.C., was proud to make her 2024 return to her alma mater. 

“This is my first homecoming since 2019,” she said.

This article was updated on Oct. 13. 

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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 Alexis Taylor
AFRO Managing Editor

The Enoch Pratt Free Library (EPFL) announced a new CEO and president on Sept. 30. 

Hailing from Mount Airy, North Carolina, Chad Helton has been selected to lead the organization, which was founded in 1882 by philanthropist Enoch Pratt.

Helton spoke with the AFRO on day one of his time in the new role.

“I’m very excited, said Helton. “I know all of the amazing work that was done before my arrival and I have big shoes to fill.” 

Helton said he’s committed to continuing the work being done by EPFL and also looking to further advance the library and services offered. His first order of business is to make himself available to staff and residents to promote understanding of who he is and the work he plans to do.

“I’m creating partnerships with staff, creating partnerships with elected officials and really creating a strong foundation with people that live in the city,” Helton told the AFRO. “I’m holding office hours and ‘Meet the CEO’ events at each individual branch library once a month, so that I can connect with residents of the city to hear from them directly and see what it is that they want from us. That’s one of the first things on my agenda–looking at some of our infrastructure needs and having conversations about facilities improvements and getting funding for facilities.”

Though Helton is now president and CEO of a major library system, he is clear in how others have played a role in his success, including his mother and father, James and Lillie Helton.

“My parents grew up in segregation,” he said. “The opportunities not afforded to them were afforded to me and my brother. I didn’t really understand that until I got older.” 

Not one to shy away from his past, Helton told the AFRO how, many years ago, his life looked completely different. 

“I dropped out of college for 10 years, and during that time period a lot of things happened,” he said. “My father passed away and I started having conversations with my mom. I started to have conversations with my grandmother, Jettie Mae Helton, who grew up in Jim Crow and lived to be 102 years old. Her grandmother, she remembered, was born into slavery.”

Helton said the poignant conversations put a spotlight on the many opportunities he was “squandering.”

“People really died for the right for me to be able to do anything in this world that I wanted to try and do, and I wasn’t taking advantage of that,” he said. That’s when a friend, Matt Wilburn, stepped in and changed his life. 

“Matt knew that I was chronically underemployed and couch surfing,” said Helton. “When you are chronically underemployed, you don’t have full time jobs. You’re working part-time job after part-time job, and they’re somewhat dead end jobs. Matt saw that I was really, really trying hard. For one of the first times in my life–I was really trying hard. He felt if he got me a job at the library delivering books with this golf cart, it would somehow influence me to go back to college, because I’d be back on campus. And he was right.” 

“I would not be where I’m at right now, had it not been for him taking that opportunity and really taking a chance on his friend. I’m forever grateful for that,” Helton said. “Let’s be honest, there’s so many people out in this world that work very, very hard, and the opportunities just don’t open up. Everything that I am is related to the opportunities and the faith that people had in me, and I wouldn’t be anything without that.” 

Helton is a long way from delivering library books to satellite libraries on the campus of University of North Carolina, Chapel Hill. He returned to school himself, found a new career path and hasn’t looked back since.

After earning a Bachelor of Arts degree in African-American Studies from the University of North Carolina at Chapel Hill, he went on to get a Master of Public Administration degree from the University of San Francisco and a Master of Science degree in Library and Information Studies from Florida State University.

“I really do feel that education is the great equalizer and the only way to make it in this world is to educate yourself,” said Helton, who admits he didn’t know there were degrees for careers related to the library system until he was in his late 20s. 

Helton said it’s important for Black students to see Black faces in leadership within the library systems of America.

“There aren’t a lot of Black men that do this work. At one point, there were less than 20 Black, male directors in public libraries in the United States,” he said. “When you think of all of the libraries that existed in this country, and the fact that there were less than 20, it’s very important to see Black men and Black faces doing this work and being in these roles. It’s really hard to make change when people don’t know that this is something that they can do. Being out there and having people see my face lets kids know that this is something that they themselves can do.” 

“I think it’s very important to be in this role, and be in a position to really start to make some systemic changes related to people getting involved in this particular field,” he added. 

Today, Helton leads a system that, in a different decade, would have scoffed at the notion of a Black man taking the helm. In the Sept. 13, 1930 edition of the AFRO,  the paper detailed how EPFL refused to hire Black employees– telling Black residents it was “needless” for them to apply for training to become employed by the organization. In the May 19, 1934 edition of the paper, the AFRO recorded how EPFL stood by their decision to segregate their bathrooms, upon receiving complaints from White patrons who thought African-American visitors should use a different restroom. 

Decades later, Helton joins a short list of EPFL directors. Since its founding more than a century ago, there have only been 13 EPFL presidents, including Helton. According to information released by the library, a total of three African Americans have led the organization. Anna Curry took the helm in 1981. After Curry, Dr. Carla Hayden, another African-American woman, took on the role in 1993. Helton now joins as the third Black director for EPFL, which boasts 21 branches throughout Charm City, in addition to a Central Branch, located at 400 Cathedral St.

“Chad Helton is the right leader for the Enoch Pratt Free Library’s next chapter,” said Christine Espenshade, chair of the Pratt Library’s Board of Directors, in a statement. “His deep industry experience and creative approach to addressing infrastructure needs will be invaluable as we work toward a bold future for the Pratt Library. We are confident that his leadership, coupled with a commitment to community, will ensure that the Pratt Library continues to thrive as a cornerstone of Baltimore. Chad’s expertise will help us build on the momentum we’ve already gained, including record-high library cardholders and circulation, as well as securing funding for ongoing infrastructure improvements.”

Prior to taking the EPFL position, Helton served as a library consultant and as a director in more than one library system. In Minnesota, he directed the 41 branches of the Hennepin County Library as they took on the COVID-19 pandemic. Before that, he led Branch Library Services at the Los Angeles Public Library, which included oversight of 70 branches. In California, Helton served Contra Costa County Library as a deputy county librarian, and in Palo Alto he was the library services manager. 

“The Board of Directors is eager to support Chad as he leads the organization into a future defined by innovation and service,” Espenshade added. “Under his leadership, the Pratt Library will continue to be a welcoming and essential resource, empowering Baltimore’s residents through free access to critical resources and opportunities. On behalf of the entire Board, I also want to extend our deepest gratitude to Darcell Graham for her exceptional leadership as Interim CEO during this transitional period.”

Helton is looking forward to expanding EPFL’s capacity to deliver programming needed in the communities of Baltimore while also improving access to digital literacy programs and wellness resources. When asked about the role libraries play in addressing the needs of society, Helton said they are crucial.

“The library is a government entity that people willingly want to come to, and people are generally excited to come to. We have a responsibility to assist people with whatever their needs may be,” said Helton. “I think the work that we’re doing is foundational– being that we are strategically placed throughout the city to address needs for each individual community that we serve.”

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By Black PR Wire

(Black PR Wire) LOS ANGELES – Twenty years after sparking a national dialogue on systemic inequality, Tavis Smiley has updated and released “The Covenant with Black America.” The recently released book, “The Covenant with Black America: 20 Years Later,” maintains the book’s original sense of urgency while weaving in a powerful blend of historical insights and contemporary voices. Initially published in 2004, “The Covenant with Black America” quickly became a  No. 1 New York Times bestseller by critically addressing the issues facing America’s Black community and pushing the nation to confront deep-rooted disparities with extraordinary determination.

“The Covenant with Black America: 20 Years Later” revisits and updates the hard-hitting social commentary of its original version. The new edition intertwines the original essays with powerful new contributions from today’s leading voices. Despite notable progress, disparities in health, housing, justice, and economic opportunities continue to impact Black communities disproportionately.

“At this critical time in our history, we must confront the forces of extremism and extend the rich tradition of deep democracy in America as we expand justice, equity, and freedom for all,” stated Tavis Smiley. “The new edition provocatively covers today’s most pressing issues and offers tangible solutions to some of this country’s most persistent problems.”

The book’s ten covenants serve as a call to action and a reminder that the path to equality is far from over. Each of the original covenants has been updated with the latest data and analysis, revealing both the progress and the troubling persistence of inequality.

“Most importantly, the new edition includes a poignant essay on the alarming rise of homelessness within our community, where Black men have become the predominant face of this epidemic in America,” added Smiley.

With a fresh foreword by Rev. William J. Barber, II and a special afterword by the esteemed poet Nikki Giovanni, “The Covenant with Black America: 20 Years Later” is a testament to the enduring spirit of advocacy and a beacon of light and hope for future generations.  The book invites us all to partake in the crucial work of reshaping America into a more equitable society, echoing the timeless truth that our collective liberation uplifts our nation.

“The Covenant with Black America: 20 Years Later” is now available at local bookstores and online. For more information about this anniversary edition, please visit Hay House Publishing or contact Matt Klink, matt@klinkcampaigns.com.

About Tavis Smiley:

Tavis Smiley is a host and managing editor of the nationally syndicated radio program and podcast “Tavis Smiley,” which is produced and distributed by SmileyAudioMedia, Inc. Tavis has authored or edited more than 20 books and has received numerous awards for his work championing the causes of equality and justice. In 2024, Smiley received the Presidential Lifetime Achievement Award. In 2023, he received the highest honor in the talk radio industry, the coveted “Freedom of Speech” award, and presently appears on the “Heavy Hundred” list of the “100 Most Important Talk Radio Show Hosts” in America. Since June 2021, Smiley has served as Chief Visionary Officer for his radio station, KBLA Talk 1580, where he continues to lead national conversations on systemic inequality and social justice.

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By Deborah Bailey
AFRO Contributing Editor
Dbailey@afro.com

Rev. Al Sharpton and recording artist Albert “Al B. Sure!” Brown don’t seem like the most likely partners in the fight for civil rights. While Sharpton, head of the National Action Network, is known for historic civil rights campaigns on behalf of Black Americans, Brown is best known for his series of top 40 and R&B hits, and more recently as host of “Love and R&B” on Urban One’s Reach Media. 

But together, these men with a national coalition of health advocates, have scored a major win for transplant patients across the U.S. Working through the Health Equity in Transplantation Coalition (HEiTC), health advocates across the nation have successfully fought for the Centers for Medicare and Medicaid Services to reverse a rule banning coverage of a crucial blood test taken by transplant patients to detect the life-threatening condition of organ rejection.   

Close to 100,000 people are waiting for major body organs and more than a million transplants have already been performed in the U.S. That means the Medicare reversal on post-transplant tests is a life-altering win, especially for Black and Latino transplant patients, said Sharpton. 

Black organ transplant patients represent close to 30 percent of all transplant candidates on the waiting list, according to the U.S. Health and Human Services Office of Minority Health (OMH). The most frequently donated organs in order of transplant frequency are kidneys, livers, hearts and lungs, according to OMH. 

‘’Our involvement in this major health issue is long overdue,” Sharpton said. “Life starts with our health. We (Black people) are getting ill earlier and earlier. This is a civil rights issue, so as a civil rights organization we had to get involved.”

Beginning in 2017, Medicare covered two tests that transplant surgeons use to monitor patients for organ rejection. Surgeons like Dr. Steven Potter, a Georgetown University kidney and pancreas transplant specialist and professor of surgery, use these tests on a routine basis to monitor patients for organ damage and rejection.

But in 2023, The Centers for Medicare and Medicaid Services (CMS) announced significant reductions in coverage for the post-transplant blood tests. Contractors who supply the tests to CMS, called Medicare administrative contractors or MAC’s, have the right to restrict access to the tests by Medicare recipients via a rule recognized by CMS called a local coverage determination or LDS, according to a spokesperson for CMS.

‘’The blood tests check for organ rejection [and] prevent patients from undergoing painful surgical biopsies to determine whether a transplanted organ is rejected by the body,” said Potter, who also supports the HEiTC Coalition. “These tests can detect possible problems long before patients have major symptoms.” 

On a practical level, the tests can be administered at home. 

“The tests save patients from losing a day of work or missing other essential commitments,” said Dr. Marsha Harris, New York University Langone Health colorectal surgeon and a HEiTC coalition member. 

Sharpton, Brown and other health organization partners got to work this summer, forming a bi-partisan response to the CMS decision. Sharpton and former Republican House Speaker Newt Gingrich testified on Capitol Hill supporting Medicare coverage for the tests. 

Brown, who underwent a liver transplant in summer 2022, is the executive chair of HEiTC and brings a new face to the disproportionate burdens Black transplant patients face. He embodies an urgency for Medicare to get back in the business of covering the costs of noninvasive post-transplant tests. 

“Any organ transplant recipient will tell you the path to recovery is a steep, uphill and daily battle,” said Brown about his experience.

According to University of Virginia Health, acute organ rejection happens in the months following a transplant while chronic organ rejection can happen any time after a year. 

In addition to HEiTC’s Capitol Hill testimony, 14 members of Congress and 24 leading transplant surgeons sent a letter to CMS administrator Chiquita Brooks LaSure urging her to restore Medicare coverage of the post-transplant tests. 

“What’s less known is that this journey poses even greater risks for Black Americans because we are biologically more likely to experience organ rejection, and are disproportionately represented in the transplant population,” Brown said at a Congressional Black Caucus (CBC) event celebrating Medicare’s pending restoration of coverage for the tests.

On Aug. 16, CMS issued a statement announcing the decision to withhold Medicare coverage for post-transplant tests would not be finalized. In part the statement read, “In response to public comments and upon further review of the evidence, the MACs are not finalizing the proposed LCD issued on August 10, 2023.” 

At a recent CBC event, Sharpton, Brown and other transplant supporters nationwide gathered to proclaim the fight is not over. 

Once the Medicare decision is finalized, HEiTC is poised to begin a campaign targeting the root causes of the gross inequities between Black, Latino and White patients when it comes to the chronic diseases that lead to transplantation in the first place. 

Poorly controlled diabetes is the leading cause of kidney failure, a condition impacting Black Americans at a rate three times greater than White Americans, according to the National Kidney Foundation. Kidneys are the number one organ on the transplant waiting list, where close to 30 percent of the waiting candidates are Black, according to the HHS – OMH. 

Reporting on this story is through the support of a journalism fellowship from the Gerontology Society of America, The Journalists’ Network on Generations, and the Commonwealth Fund.

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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 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.  

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 Nijiama Smalls
The Black Girl’s Guide to Healing Emotional Wounds

I used to have an issue with forgiveness. I used to hold grudges like no other. I would completely stop speaking to my offender because I wanted to let them know I hated them and no longer “messed with them.”

But here’s what I learned:

Unforgiveness leads to bitterness, which causes one to become endlessly negative and to have an overall cynical outlook on life.

Unforgiveness impacts our overall physical health. Harboring anger, hate and disappointment increases our risk of depression, heart disease and depression.

Here are some questions to ask yourself to see if you are harboring some unforgiveness:

Do you roll your eyes when you hear your offender’s name or see them?

Do you try your best to avoid your offender?

Do you have something negative to say about them when their name is mentioned?

Do you secretly hope something bad happens to them and/or feel they do not deserve good things to happen to them in life?

Do you replay the conversation you had with them in your head dissecting it or wishing you had said things differently?

If you answered yes to any of these questions, it’s time to do some healing work.

This article was originally published by The Black Girl’s Guide to Healing.

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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 Megan Sayles
AFRO Business Writer
msayles@afro.com

After suffering four heart attacks and facing open heart surgery, former educator Tawanda Prince was told her heart functioned at just 25 percent of its normal capacity. The news transformed her world completely. 

Surviving the health scare led Prince to consider her mission in life. Through reflecting, she determined it was to help others identify, understand and live out their own purpose. In 2012, she became a certified life coach and began showing people how to find “the good life.” 

“Activities change, but purpose doesn’t. It just manifests differently,” said Prince. “Today, I might be doing this, and tomorrow, I might be doing that, but it’s still the same mission and purpose.”

Since taking on the moniker, the ‘Good Life Coach,’ Prince has published several motivational books and led visionary, leadership, career, relationship and transitional coaching sessions for individuals and organizations. 

As an entrepreneur herself, Prince understands the tribulations that come with running a business. The AFRO recently connected with Prince to learn how business owners can stay motivated and enhance their wellness. 

What sort of toll can running a business have on people?

Running a business is definitely not for the weak. You have to know that this is what you are called to do. If you are not operating in your divine purpose, then you’re swimming upstream. That’s not to say you can’t get it done, but if it’s not what God is calling you to do, you won’t prosper in the way that you should. When I say prosper, I don’t just mean that you have a lot of money. It’s about your whole self prospering and flourishing.

You have to learn what you need to know to run your business, and then find the people you need to know to run it. You need connection and support. No person is an island. 

How can entrepreneurs take part in self-care and manage their wellness?

You have to know when enough is enough. You have to build time for recharging and rejuvenating yourself. I make every effort to not do any business on Sunday. I don’t look at emails or take business phone calls unless it’s a situation where it absolutely cannot be avoided. 

You should also indulge in things that bring you happiness. I’m also an artist. I have an art studio in my home that is my happy place. You have to find things that bring you peace and joy and engage in them. 

I teach my clients that each day, you need to do something for your house, your health, your wealth, for yourself and for someone else. By practicing that, you maintain balance. Health could be exercise, having a cup of herbal tea, breathwork, managing your diet or taking your medications. Wealth is not just getting a bag, but also taking care of administrative tasks and managing your personal finances. Self-indulgence could be taking an extra long shower, shopping, eating with friends or even going on a date with your partner. 

Another simple thing is journaling. This is something I do on a daily basis. It’s therapeutic because it gives you a chance to capture everything that’s going on in your life. You can break down your day and write about the things you’re grateful for. 

What tips would you give entrepreneurs for staying motivated?

Use vision boards. Put the things you want to achieve on a goal poster along with motivational sayings or scriptures. You should also share your goal with the people who matter. That way there’s accountability and encouragement. 

Know that this is what you’re supposed to be doing. That helps me to continue on and stay the course even when I’m struggling. You should also keep track of what you’ve accomplished so far. That will become the motivation for the things you pursue in the future.

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By AFRO Staff

U.S. Supreme Court Justice Ketanji Brown Jackson spoke in Baltimore about her new book, “Lovely One,” inside of the Enoch Pratt Free Library’s Central Branch on Sept. 21. 

Those able to secure one of the hottest tickets in town on Saturday night were able to hear the first Black woman to sit on the U.S. Supreme Court speak about not only her new book, but her own personal origin story and the people who put her on the path to success in the law field. 

“My father went back to law school when I was three years old. We lived on the campus of the University of Miami Law School,” said Justice Jackson. “My earliest memories are of my dad’s education table with his law books.”

The title of her book, “Lovely One,” is a nod to the name given to her at birth by an aunt who worked in West Africa, “Ketanji Onyika,” which means “lovely one” in English. 

Jackson noted that while the book is about her life, history and the impact of crucial moments in America are also woven through the pages.

“I start the book with my grandparents and then my parents. I’m trying to emphasize the great good fortune of my birth –the timing of my birth,” said Jackson. “I am a member of the first generation post-Civil Rights Era. And the significance of that I just don’t want anyone to miss. I was born in 1970, which was within five or six years of the Civil Rights Act, the Voting rights Act, and the end of civil pro-segregation.” 

Jackson said that while her parents were born during a time of segregation, her birth came during a “new opening of society to African Americans,” and filled them with hope. 

“They were like, ‘here’s our shot,’” said Jackson, of her parent’s determination to have their daughter take advantage of every opportunity they themselves were denied. 

“If there were swimming lessons, I was in the swimming lessons. If there were music lessons, I was doing the music lessons,” said Jackson. “When I was five-years-old, 6-years-old, my mother had me memorizing poems…I wrote the book as sort of a tribute to the people and circumstances that I felt were most responsible for my being in a position to take advantage of this.” 

U.S. Supreme Court Justice Ketanji Onyika Brown born to two public school teachers, Johnny and Ellery Brown, in Washington, D.C. on Sept. 14, 1970. After the pair moved to Miami, Jackson’s father eventually became a Miami-Dade school board attorney, while her mother worked her way to become a school principal.

It was in Miami that Jackson’s start began to shine. She was elected class president while attending Miami Palmetto Senior High School and by 1988 she was studying at Harvard University. There, she crossed paths with another Harvard student, Patrick Jackson. After graduating from Harvard in 1992, the future judge went on to Harvard Law School and both graduated and married in 1996. 

After completing clerkships for three different judges, including U.S. Supreme Court Justice Stephen Breyer, Jackson worked with private law firms and in government for a number of years. In 2012, after working with the U.S. Sentencing Commission and serving as a prosecutor, Jackson was selected by then President Barack Obamato serve on the federal District Court of Washington, D.C.  His nomination didn’t receive a vote, so he nominated Jackson again the next year. In 2013 she was successfully confirmed. Years later, in April 2021, President Joe Biden asked that Jackson be appointed to the Court of Appeals for the District of Columbia Circuit. In a 53 to 44 vote, she was confirmed into the role on June 14, 2021, paving the way for her name to be put forth when an opening came up on the Supreme Court the very next year.

The mother of two spoke on the changes she experienced as she ascended through the ranks and took on different types of judgeships.

“I was a trial judge for the longest period of time in my career. I was seven and a half– eight years– in a courtroom where I controlled everything. I was one judge,” she told the packed room of attendees. “Appellate decision making is very challenging when you have to actually work with other judges, like voting on the outcomes.”

During the Charm City leg of her book tour, Justice Jackson spoke about the moment her journey from law student to clerk to judge and finally, a member of the U.S. Supreme Court was fully realized.

“I think the moment that hit me– the first moment–was the day I was confirmed. I actually went to the White House for the vote call, and it was really overwhelming to watch the votes come in,” said Jackson, of that historic April day in 2022.

Jackson said that her book highlights core values taught to her and passed down to her daughter.

“On the day of my divestiture as a district court judge, my first judicial appointment, I gave a speech in my daughter’s middle school: ‘Work hard, be kind, have faith, and believe that anything is possible,’” Jackson told the audience. “I think those values – you’ll see from my story of the book– are things that I try to live by.”

This article has been adjusted to reflect the correct title of Justice Ketanji Brown Jackson’s book, “Lovely One.”

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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 D. Kevin McNeir
Special to the AFRO

Overcast skies and unseasonably cool temperatures were not enough to keep several hundred people from the D.C., Maryland and Virginia area (DMV) from attending the 15^th Annual D.C. State Fair on Saturday, Sept. 7. 

Held this year at Franklin Park in Northwest, Washington, D.C., the event featured musical performances from local entertainers and contests – from pie eating to pie making– along with activities such as hand dance demonstrations from the National Hand Dance Association. 

The free event, inspired by decades-old state fair traditions, showcased more than 15 food vendors and more than 75 artists, makers, local small businesses, nonprofit organizations and sponsors. But the real goal of the event, according to leading sponsors, was to celebrate the people and things that make the District of Columbia unique. 

Brian Americus, 40, a self-described military brat who now lives in Southeast, Washington, D.C. was on site to sell his V-neck shirts as a fair vendor. 

“I came up with these shirts because I wanted to give men something that was both stylish and casual – a shirt they could wear to work and then to happy hour or a dinner date,” he said. “I’ve been doing well with my website (BrianAmericus.com) and with pop-ups but the best way to convince men, and now women, to buy my shirts is for them to see them in person and feel the product. Once that happens, at least 85 percent of folks are sold.” 

Native Washingtonian Dancer Sze, 28, first attended the state fair in 2021 when she took second place in a contest for creating the best pickle. This year, she set her sights on the Best Jam contest – and she took the blue ribbon for first place. 

“During the pandemic, because we were forced to stay indoors, I started spending more time in the kitchen and began to create some new items in my repertoire– including pickling and making jams,” Sze said. “I can’t express how excited and happy I am to have won first place for my blueberry balsamic jam. One day I want to have my own business and this has given me the encouragement I needed. What’s even better is having my two best friends here to help me enjoy my victory.” 

Sze’s friends, Helen Abraha, 28, and Sophie Miyoshi, 26, both from Northeast, Washington, D.C., said this year was their first time attending the state fair, but certainly not their last. 

“I grew up in Ohio, so I am used to attending state fairs,” Abraha said. “And after seeing Dancer win a ribbon, I will be back next year with some of my fabulous cakes.” 

Miyoshi hopes to return with some of her own recipes in the future. 

“I’m coming back next year to support the fair and I’m going to enter my vegan macaroni and cheese in one of the contests. It’s the bomb!” she said. 

While she enjoyed the event, Miyoshi spoke to some of the issues lurking in the background of the fun filled weekend event.

“D.C. isn’t a state but it should be,” she said.

In support of D.C. statehood and voters rights, Anne Stauffer from Northwest, representing the League of Women Voters of the District of Columbia, collaborated with members of Delta Sigma Theta Sorority. Their goal was to encourage voter engagement and to advocate for D.C. statehood. 

“D.C. statehood is crucial because we deserve the same rights as other Americans – one person, one vote,” Stauffer said. 

Lucille Brewer, from Northwest, Washington, D.C. was joined in her efforts to educate the public on voter registration and calls for D.C. statehood by her sorors, Novella Bridges and Nyisha Williams, both from the Southeast area of the District. It was their first time volunteering at the state fair.  

“We are here to promote and encourage social action,” said Brewer. “That’s what we do.”

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By AFRO Staff

The 2024 Baltimore MET Gala returned for a third year on Sept. 14. 

Creatives of every genre descended upon The HALL – LIVE! Casino and Hotel Maryland for the fashion and awards show, executive produced by LaRian Finney and Derrick Chase. 

Attendees did their best to adhere to this year’s theme, “Adam and Eve: Enter the Garden,” by sporting sleek fabrics and vibrant floral numbers.

“We know the rich pool of talent is here in the city, and that’s through all genres, particularly the arts, fashion and culinary scenes,” said Chase, in a statement. “Drawing talent to the city to be part of the Baltimore Story, through this unique production, is a testament to the value we’ve created in the three short years of executing at a high level of excellence.” 

The event featured entertainment by DJ Tanz and a culinary experience was curated by founder of the Black Owned Restaurant Tour (BORT), Azikiwe “Zik” DeVeaux, who pulled together offerings from several restaurants for ‘A Taste of the MET.’ 

The fashion show portion of the event was produced by Lana Rae. Models included in the fashion show came from as far as San Diego, Calif., St. Louis and other cities across the nation to wear the fashions of local designers. Roughly 150 models were selected from a pool of 500 by designers Jody Davis and Earle Bannister. The Baltimore MET Gala also featured an art exhibition, curated by Ernest Shaw, Ainsley Burrows and Laurielle Noel.

The event included several Community Impact Awards: 

• P. David Bramble, Managing Partner/Co-Founder | MCB Real Estate
• Edward “Ed” Evans, Director of Diversity, Equity, & Inclusion | Live! Casino and Hotel Maryland
• Linzy Jackson, III, Director of External Partnerships | Office of the Mayo
• Susan J. Lee, Vice President of Diversity Partnerships | MOI
• Detra Neal, Sales Manager, Market, Mid-Atlantic | Kimball International 
• Nykidra “Nyki” Robinson, Founder and CEO | Black Girls Vote
• Shelonda Stokes, President | Downtown Partnership of Baltimore

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By Larry Neumeister, Michael R. Sisak and Andrew Dalton
The Associated Press

NEW YORK (AP) — A second judge refused to grant bail to Sean ‘Diddy’ Combs on 918/, saying the government had proved “by clear and convincing evidence” that no amount of bail could guarantee the hip-hop mogul won’t tamper with witnesses.

U.S. District Judge Andrew L. Carter handed down the ruling after prosecutors and defense lawyers presented strenuous arguments for and against a $50 million bail package that would allow Combs to be released to home detention with GPS monitoring and strict limitations on who could visit him.

Combs, 54, pleaded not guilty Sept. 17 after an indictment accused him of using his “power and prestige” to induce female victims and male sex workers into drugged-up, elaborately produced sexual performances dubbed “freak offs” that Combs arranged, participated in and often recorded. The events would sometimes last days, the indictment said.

The indictment alleges he coerced and abused women for years, with the help of a network of associates and employees, while using blackmail and violent acts including kidnapping, arson and physical beatings to keep victims from speaking out.

Combs has been in federal custody since his arrest the night of Sept.16 at a Manhattan hotel.

Arguing to keep him locked up, prosecutor Emily Johnson told U.S. District Judge Andrew L. Carter that the once-celebrated rapper has a long history of intimidating both accusers and witnesses to his alleged abuse. She cited text messages from women who said Combs forced them into “freak offs” and then threatened to leak videos of them engaging in sex acts.

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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 Aria Brent
AFRO Staff Writer
abrent@afro.com

The Baltimore Symphony Orchestra (BSO) will soon start Symphony in the City, a free, three-concert community series. The first concert is set to happen at Morgan State University (MSU) on Wednesday, Sept. 18, at 7:30 pm in the Gilliam Concert Hall in the Murphy Fine Arts Center.

The first performance of the season is led by BSO music director, Jonathon Heyward, and will feature selections from Beethoven’s Symphony No. 6, “Pastoral.” To compliment Beethoven’s timeless work, the concert will also feature compositions by James Lee III, whose work is infused with bright stories and deep cultural resonance.

“Beginning our season with a community concert at Morgan State University is deeply meaningful,” said Heyward. “This performance not only begins our musical journey for the year, but also continues the BSO’s tradition of bringing music directly to the heart of Baltimore, honoring the Symphony’s roots as an orchestra founded by the city for its people.”

Symphony in the City was intentionally created to align concerts and venues with community celebrations. The concert at MSU will both mark the start of a new academic year, but also pay homage to the university’s connection to the BSO’s new composer in residence, James Lee III. 

Lee serves as a faculty member at the historically Black institution in Maryland. His BSO residency will include two world premieres during the 2024-25 concert season and will feature an educational component with students in BSO’s OrchKids program and the Baltimore School of the Arts.Throughout his time in this role Lee will provide students with opportunities for compositions, mentorship, and workshop performances.

“The fact that the Morgan community, and the surrounding community at large, will have an opportunity to experience the Baltimore Symphony Orchestra, led by their new music director, Jonathon Heyward, live on our campus, is simply amazing,” said Eric Conway, DMA, chair of the fine and performing arts department and director of the choir at MSU. “This moment is further elevated by having the work of a respected Morgan faculty member, Dr. James Lee III, on display for all to enjoy. We are fortunate and thankful to the BSO for selecting Morgan as the location for the season’s first Symphony in the City concert.”

Listed below are all the details for the first Symphony in the City concert

Symphony in the City

Date: Wednesday, Sept.18

Time: 7:30 p.m. 

Location: Gilliam Concert Hall, Murphy Fine Arts Center

     Morgan State University

     2201 Argonne Drive

     Baltimore, MD 21218

Artist

Jonathon Heyward, conductor

Repertoire

BEETHOVEN Symphony No. 6, “Pastoral,” I. Awakening of cheerful feelings on arrival in the countryside

LEE III Amer’ican

BEETHOVEN Symphony No. 6, “Pastoral,” II. Scene by the brook

LEE III Captivating Personas, III. Bored Comfort

BEETHOVEN Symphony No. 6, “Pastoral,” IV. Thunderstorm

BEETHOVEN Symphony No. 6, “Pastoral,” V. Shepherd’s song: Cheerful and thankful feelings after the storm

The Symphony in the City series will continue throughout the 2024-25 concert season with performances across Charm City, including a tribute to Veterans on November 20 at War Memorial and a celebration of Black History Month on Feb. 7, 2025, at the Reginald F. Lewis Museum.

Launched in 2019, this concert series represents the BSO’s commitment to bringing world-class music to diverse audiences throughout the Baltimore area. Each concert is a special celebration of community, culture, and the astounding power of music.

Symphony in the City remains free to all. Reservations are suggested but not required. Learn more by visiting https://www.bsomusic.org/symphony-in-the-city/.

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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 Chrissy M. Thornton

By now, the buzz around Associated Black Charities’ (ABC) event, The Cookout, has reached every corner of Baltimore and beyond. Described as a celebration of Black joy, unity and community empowerment, The Cookout was a beautiful and necessary reminder of the importance of gathering, celebrating and claiming space. It also turned out to be much more than just a social event—it became a symbol of resilience and the audacity of Black people to thrive, even in the face of hate.

Before the event, the press releases told us what to expect: a day filled with music, food and the kind of energy that only Baltimore knows how to bring. From performances by local icons like DJ Tanz and Scola Dinero of Dru Hill fame, to awe-inspiring acts like Nia Simone, the Fatal Attraction Step Squad and the Baltimore Twilighters Marching Band, it was poised to be a perfect day. And for the kids, there were inflatables, face painting, balloon twisting, popcorn, cotton candy and even a visit from Black Panther himself!

The Harbor Bank of Maryland played a vital role as the presenting sponsor of The Cookout, showcasing their ongoing commitment to economic empowerment and community development. Onsite at the event, Harbor Bank provided attendees with access to valuable financial resources, including opening new bank accounts with a $100 deposit incentive, directly supporting the financial well-being of individuals and families in attendance. Their presence not only underscored the importance of financial inclusion within the Black community, but also highlighted the powerful impact that Black-owned institutions can have in fostering economic growth and stability. Harbor Bank’s participation in The Cookout was a testament to their dedication to uplifting the community and ensuring that all Marylanders have the tools to build wealth and secure their financial futures.

Still, in the weeks leading up to The Cookout, the atmosphere was thick with something else—racist and violent rhetoric that sought to undermine the very essence of this event. It seems that the notion of Black people gathering to celebrate themselves, their culture and their collective power was too much for some. Social media lit up with comments such as “I guess honkies aren’t invited,” “What the f*** about White culture?,” and even more sinister threats that prompted Associated Black Charities to file a formal report with Baltimore City police and involve Homeland Security. These weren’t idle threats– ABC was forced to invest nearly $7,000 in additional security to ensure the safety and well-being of attendees.

The political climate fostered by radical White supremacists and MAGA Republicans has emboldened hateful rhetoric and behavior. Their dehumanizing tactics, their refusal to acknowledge the significance of Black joy, and their audacity to suggest that Black lives and Black celebrations are somehow threatening, have created an environment where public safety concerns are no longer a precaution, but a necessity. From racist caricatures of Governor Wes Moore and Mayor Brandon Scott on event posts to violent insinuations about shootings at the event, it’s clear that the ignorance and hatred are not just pervasive but increasingly bold.

Yet despite all of this—despite the hate, the vitriol and the outright threats—The Cookout turned out to be a massive success, exceeding every expectation. The weather was gorgeous, and even more beautiful was the sense of community. Black families from all walks of life and allies from other communities came together, their laughter filling the air as music played and food vendors offered mouthwatering dishes from some of Baltimore’s finest Black-owned businesses. Free hot dogs, Rita’s Italian Ice, and a host of Black-owned food trucks served up the kind of cuisine that can only be described as soul-nourishing.

The day began with a prayer from Bishop Douglas Logan of Zion Hill Baptist Church, and the rendering of the Negro National Anthem by songstress Jessika Williams, setting the tone for what would be a powerful gathering. Elected officials like Maryland Comptroller Brooke Lierman and City Council President Nick Mosby and a host of Baltimore City Delegates also joined, offering their words of solidarity. But perhaps the most moving moment came during the Movement March for Equity, led by myself, along with Nick Mosby. Reminiscent of civil rights marches of the past, participants carried signs, sang and chanted as they walked in unity for diversity, equity and inclusion. This was not just a walk—it was a statement, a declaration that the fight for the economic, social and political well-being of Black people will continue, no matter the opposition. At the rally point, the group stopped for reflection and enjoyed a stirring performance of “Rise Up” by professional musician, Crystal Freeman. It actually moved me to tears.

The irony is not lost that the very people who sought to sabotage this event missed its true purpose. They failed to see that their hatred and ignorance have no place at The Cookout—neither literally, nor figuratively. The space we create for ourselves is sacred, built on trust, love and shared experiences. And while White allies who genuinely support our causes attended en masse and are always welcome, those who carry hate in their hearts are decidedly not invited.

 As I stated in my opening remarks, The Cookout was a celebration of Black unity, a reminder of our power and a demonstration that no amount of hate will stop the movement. Those who continue to spew ignorance might have thought they were tearing something down, but in reality, they only strengthened our resolve. The ignorance they displayed won’t slow the progress toward equity, and it certainly won’t stop the work of Associated Black Charities.

The Cookout’s gathering transcended lived experiences, demographics and socioeconomic status. It was a true reflection of the richness and diversity within the Black community—families, youth, elders, professionals and creatives, all convening in solidarity and purpose. 

This coming together was significant because it demonstrated that, despite different backgrounds or challenges, the shared mission of advancing Black equity and empowerment is one that unites us all. It was also a reminder that collective action is a force that cannot be diminished by external attempts to divide. However, despite the broad participation, the media presence was noticeably lacking, with only the AFRO and WMAR providing coverage. The absence of other local news outlets, many of which regularly amplify the struggles and negative portrayals of Black life in Baltimore, was glaring. Their failure to see the importance and urgency of covering such a positive and unifying event speaks volumes about the narratives they choose to uplift. In their absence, the community’s power and resilience were on full display for those who chose to witness and embrace it.

Unfortunately, the political climate that nurtures hateful behavior is not just a problem for Black people—it’s a threat to us all. And now, more than ever, we must act. It is no longer enough to be “good people.” Being passive in the face of racism, violence and bigotry is complicity. The fight for diversity, equity and inclusion (DEI) requires active participation, not just from Black people, but from our White and other allies, public officials and every person of good conscience. Baltimore and the state of Maryland must stake their claim in DEI efforts now, or risk becoming a breeding ground for further division and hatred.

The Cookout was a day of celebration, but it was also a call to action. As we danced, sang and shared space, we reminded the world that Black joy is revolutionary. The day ended in powerful unity, a reaffirmation of why we gather and why we will continue to do so—because our joy, our culture and our community are worth fighting for.

For all who weren’t there, you missed a moment of true beauty. For those who allowed their ignorance to cloud their understanding, you missed an opportunity to learn, grow and be part of something bigger than yourself. The work of dismantling racism and building equity will continue, with or without you. We must keep marching. And for those still stuck in the past, your ignorance will never stop the future we are building.

In fact, this was just the beginning.

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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 Tashi McQueen
AFRO Staff Writer
tmcqueen@afro.com

The Baltimore Rhythm Festival is back. 

This vibrant and artistic festival will be held on Sept. 14 from 12 – 6 p.m. at the Baltimore Montessori Public Charter School.

The day will include local vendors, workshops and performances. The workshops and performances will be free and open to the public. 

“Over the years, we’ve been able to bring some phenomenal artists to Greenmount West for our festival,” said Eboni Yahudah, festival co-director, in a statement. “It’s become an end-of-summer event the creative community eagerly anticipates.”

Performers will include the Bele Bele Rhythm Collective and the Baltimore Twilighters, a community marching band. Workshops will include yoga sessions, drum classes, a puppet show and much more.

This year the Baltimore Rhythm Festival will mark 10 years since the festival was revived. The Baltimore International Rhythm and Drumming Society started the festival in 1995. It was eventually revived in 2014 by Menes Yahudah and Rory Turner, co-founders of the festival.

“As a musician and creative individual, I love to cultivate spaces for my peers,” said Menes Yahudah in a statement. “We consistently receive positive feedback from the artist community here in Baltimore.”

For those looking for more fun things to do this week, check out the Baltimore Rhythm Festival’s evening concert on Sept. 13. It will be held at 2640 Space in North Baltimore from 7 – 10 p.m.

Janeliasoul, an Afro-soul vocalist, and Chopteeth Afrofunk Big Band will headline the concert. 

Though the festival is free, the evening concert requires a ticket, available for $15. 

The post Baltimore Rhythm Festival to celebrate 10 years appeared first on AFRO American Newspapers.

By Megan Sayles
AFRO Business Writer 
msayles@afro.com

Baltimore-based think-tank Leaders of a Beautiful Struggle (LBS)  has received a cease and desist letter from Sinclair Broadcast Group (Sinclair) after accusing the media conglomerate of promoting ballot initiatives that aim to diminish Black political power in a recent event posting.

The event, which will be held at the Reginald F. Lewis Museum on Sep. 19 from 5:30 to 8 p.m., was advertised as a discussion for Baltimoreans to learn about how Sinclair CEO David Smith is using the company to push propaganda about Black leadership in the city. In the cease and desist, which the AFRO obtained from Sinclair directly, the media company calls the claims made by LBS are false and denied that it has engaged in any ballot initiatives. 

In a statement to the AFRO, LBS director of public policy Dayvon Love wrote: 

“LBS has been engaged in a war against the propaganda of Sinclair Broadcasting and its executive chairman, David Smith, who is using his platforms to demonize Black people. This demonization is an attempt to push policies that prioritize incarceration over repair and to disparage community-based violence prevention.” 

Love particularly took issue with Smith’s support of a ballot initiative that would reduce the size of the Baltimore City Council from 14 districts to eight. The petition is backed by People for Elected Accountability and Civic Engagement (PEACE), an organization funded by the businessman. 

PEACE maintains the cut to the council would save taxpayers millions of dollars and create a more attentive city government that better reflects the population of Baltimore. Love and other opponents believe it to be an attempt to seize political influence from Black Baltimoreans. 

“This would give him greater ability to fund politicians who would adopt his political agenda and decrease the ability of people in a majority-Black city to have representation that reflects their interests,” wrote Love. “Clearly, Sinclair Broadcasting and David Smith are troubled by our advocacy. We think it’s important for the community to decide for themselves whether we are besmirching their reputation or if we are just speaking the truth.” 

Smith has long been known for his support of conservative policies and Republican campaigns. His news stations have also been criticized for right-wing biases. Last January, the businessman added The Baltimore Sun to his portfolio. 

In the cease and desist letter, Sinclair said that LBS was confounding Smith’s personal pursuits with that of the company. 

“Mr. Smith is entitled, as a private individual, to exercise his constitutional rights and support causes or other political organizations that he deems appropriate,” wrote Chase A. Bales, general counsel for Sinclair. “Those decisions, however, are not commensurate with action by Sinclair, and there is absolutely no indication that Sinclair has supported any ballot initiatives or other political activities as described in your post.” 

Apart from the copy of the cease and desist letter, Sinclair declined requests to make further comment on the matter to the AFRO.

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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.

The post Music icon Frankie Beverly dies at 77 appeared first on AFRO American Newspapers.

By Megan Sayles
AFRO Business Writer
msayles@afro.com

Award-winning chef Kwame Onwuachi made his return to Wasington, D.C. with the debut of Dōgon, an upscale Afro-Caribbean restaurant, on Sep. 9. The new concept is nestled in the Salamander Hotel along the Southwest waterfront.

Through his culinary journey, Onwuachi has taken inspiration from his Nigerian, Jamaican, Trinidadian and Creole heritage to craft his cuisine and share history through food. 

“People ask me why I open up these restaurants, and I don’t think they understand we’re able to celebrate our culture while celebrating a special experience for some of the first times,” said Onwuachi during a Sep. 5 ribbon-cutting ceremony. “Our food is shunned to mom and pop shops, not given the opportunity and investment or not written about. For us to have a place like this is a beacon of light for other chefs to be able to open up places like this.” 

Although native to New York, Onwuachi spent his summers in the District during his youth. His grandfather taught African-American studies and anthropology at Howard University. 

He opened his first restaurant, Shaw Bijou, in 2016, but the high-end spot closed after just two and a half months. A year later, Onwuachi returned with Kith/Kin at the InterContinental Hotel on the Southwest waterfront. There, he won a James Beard Award for rising star chef of the year in 2019. 

With Dōgon, he hopes to tell the story of Washington, D.C. through an Afro-Carribean lens and to tell the story of his ancestors. 

“Our food matters,” said Onwuachi. “We don’t need to refine it. It’s beautiful as it is.” 

Dōgon’s home, the Salamander Washington, D.C., is a part of Salamander Hotels and Resorts, a luxury hospitality management company founded by Sheila C. Johnson. She is the first Black woman billionaire and the cofounder of BET. 

Johnson purchased the former Mandarin Oriental property in 2022 and began renovating the hotel. She said she met Onwuachi in the Bahamas while attending a bridal event. 

After visiting Kith/Kin, she was amazed by his food. 

“We went there for my birthday, but then I brought my executive team because what I tasted that night was like no other,” said Jackson at the ribbon-cutting. “I knew from that point on he was going to be my go-to chef.”

Together, the pair created The Family Reunion, an immersive, multi-day event in Middleburg, Va. that celebrates diversity in the hospitality industry.

She then called on Onwuachi to open a restaurant at the newly rebranded Salamander Washington, D.C. hotel. 

“I have never been so excited about a talent like this in my life,” said Johnson. “I am willing to invest in him and keep watching his journey as he continues to grow because he is truly amazing.” 

D.C. Mayor Muriel Bowser believes the new concept will contribute to the rebound of tourism in the District, which declined during the COVID-19 pandemic. 

“They have a saying when we are shopping our destination around the world, and it’s that you always have to be doing something new,” said Bowser. “You have to have new destinations, new restaurants, new activations and new chefs because people who want to come to Washington want to experience every part of D.C.” 

The post Afro-Caribbean-inspired restaurant, Dōgon, opens in D.C.’s Salamander Hotel appeared first on AFRO American Newspapers.

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.

The post AFRO High Tea returns to D.C. appeared first on AFRO American Newspapers.

By D. Kevin McNeir
Special to the AFRO

Overcast skies and unseasonably cool temperatures were not enough to keep several hundred people from the D.C., Maryland and Virginia area (DMV) from attending the 15^th Annual D.C. State Fair on Saturday, Sept. 7. 

Held this year at Franklin Park in Northwest, Washington, D.C., the event featured musical performances from local entertainers and contests – from pie eating to pie making– along with activities such as hand dance demonstrations from the National Hand Dance Association. 

The free event, inspired by decades-old state fair traditions, showcased more than 15 food vendors and more than 75 artists, makers, local small businesses, nonprofit organizations and sponsors. But the real goal of the event, according to leading sponsors, was to celebrate the people and things that make the District of Columbia unique. 

Brian Americus, 40, a self-described military brat who now lives in Southeast, Washington, D.C. was on site to sell his V-neck shirts as a fair vendor. 

“I came up with these shirts because I wanted to give men something that was both stylish and casual – a shirt they could wear to work and then to happy hour or a dinner date,” he said. “I’ve been doing well with my website (BrianAmericus.com) and with pop-ups but the best way to convince men, and now women, to buy my shirts is for them to see them in person and feel the product. Once that happens, at least 85 percent of folks are sold.” 

Native Washingtonian Dancer Sze, 28, first attended the state fair in 2021 when she took second place in a contest for creating the best pickle. This year, she set her sights on the Best Jam contest – and she took the blue ribbon for first place. 

“During the pandemic, because we were forced to stay indoors, I started spending more time in the kitchen and began to create some new items in my repertoire– including pickling and making jams,” Sze said. “I can’t express how excited and happy I am to have won first place for my blueberry balsamic jam. One day I want to have my own business and this has given me the encouragement I needed. What’s even better is having my two best friends here to help me enjoy my victory.” 

Sze’s friends, Helen Abraha, 28, and Sophie Miyoshi, 26, both from Northeast, Washington, D.C., said this year was their first time attending the state fair, but certainly not their last. 

“I grew up in Ohio, so I am used to attending state fairs,” Abraha said. “And after seeing Dancer win a ribbon, I will be back next year with some of my fabulous cakes.” 

Miyoshi hopes to return with some of her own recipes in the future. 

“I’m coming back next year to support the fair and I’m going to enter my vegan macaroni and cheese in one of the contests. It’s the bomb!” she said. 

While she enjoyed the event, Miyoshi spoke to some of the issues lurking in the background of the fun filled weekend event.

“D.C. isn’t a state but it should be,” she said.

In support of D.C. statehood and voters rights, Anne Stauffer from Northwest, representing the League of Women Voters of the District of Columbia, collaborated with members of Delta Sigma Theta Sorority. Their goal was to encourage voter engagement and to advocate for D.C. statehood. 

“D.C. statehood is crucial because we deserve the same rights as other Americans – one person, one vote,” Stauffer said. 

Lucille Brewer, from Northwest, Washington, D.C. was joined in her efforts to educate the public on voter registration and calls for D.C. statehood by her sorors, Novella Bridges and Nyisha Williams, both from the Southeast area of the District. It was their first time volunteering at the state fair.  

“We are here to promote and encourage social action,” said Brewer. “That’s what we do.”

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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.”

The post James Earl Jones, legendary voice of stage and screen dies at 93 appeared first on AFRO American Newspapers.

By BlackPR Wire

WASHINGTON, D.C. – Recently, the second annual HBCU First LOOK Film Festival (HBCUFLF), announced its 2024 festival dates, November 8 – 10th  and  the premiere of the 2024 HBCU First LOOK “I Aspire” 100. (2024 HBCU First LOOK 100)

The HBCU First LOOK “I Aspire” 100 is a curated collective of notable HBCU alumni who are inspiring the next generation of content creators across film, television, and digital platforms. This year’s list includes MSNBC President Rashida Jones (Hampton University); former NFL player and sports commentator Shannon Sharpe (Savannah State University); actress and singer Fantasia Barrino Taylor (Central State); actors Lynn Whitfield (Howard University),  Anthony Anderson (Howard University) and Keisha Knight Pulliam (Spelman College); film, network and studio executives, directors, and producers Will Packer (Florida A&M University), Spike Lee(Morehouse College), Aisha Summers Burke (Howard University), Robert Boyd (Morehouse), and Risha Archibald (Lincoln University); award-winning hairstylist and makeup artist Mia Neal (Jackson State University); stage and media influencer K. J. Rose (Florida A&M University); and many more. The 100 list honorees are invited to “pay it forward” by posting their “I Aspire” message highlighting a movie and/or person who inspired their career and use the hashtag #IAspire2024.

The HBCU First LOOK “I Aspire” 100 list was inspired by the inaugural 2023 HBCU First LOOK Film Festival and Initiative which highlighted the rich culture and diverse talent within the HBCU community.

Following in the footsteps of its inaugural year, which featured a star-studded presentation of the Obamas’ Netflix film, Rustin, the 2nd Annual HBCU First LOOK Film Festival (HBCUFLF) will take place on November 8-10, 2024, at Howard University in Washington, D.C. This year’s HBCU First LOOK Film Festival’s theme: “A Celebration of Black Cinema X Activism will highlight some of Hollywood’s most influential classic films and HBCU alums in arts and entertainment who have built bridges for the next generation.

HBCU First LOOK App will be the one stop source for festival activations that include the announcement of three grand prize winners of the HBCU First LOOK Film Challenge; panel discussions and masterclasses with entertainment industry leaders and filmmakers, film screenings; with interactive Career & Vendor Lounge.

Sponsors and media partners include AARP, Café Mocha Network, HBCUGO.TV, Howard University Department of Television + Film, Howard University Television (WHUT), Howard University Radio Network, and HBCU SiriusXM Channel 142.

For more information, visit HBCUFirstLook.com.

About HBCU First LOOK Film Festival

The HBCU First LOOK Film Festival is inspiring a new generation of minority talent in the film, television, and broadcasting industry by teaching HBCU students practical skills to improve their craft, creating places to showcase their work, and connecting executives and students to a pipeline of talent and career opportunities.

About Miles Ahead Entertainment & Broadcasting

Miles Ahead Entertainment (MAE) is a woman-and minority-owned, MDOT/WOSB certified, global multicultural agency specializing in strategic planning, social media marketing and virtual events, talent acquisition management, concierge sponsorship engagement. Subsidiary Miles Ahead Broadcasting has produced award winning broadcast television and audio productions Café Mocha Radio & TV and Salute Her Awards. MAE’s principal, Sheila Eldridge, is a Howard University, Cathy Hughes School of Communications graduate and has been recognized with NAACP Image Awards, Women In Media Gracie Awards, Telly Award and Living Legends Foundation ‘Entrepreneur’ Award, to name a few.

The post PRESS ROOM: HBCU First LOOK Film Festival announces 2024 “I Aspire” 100 2nd Annual Festival returns to Howard University November 8-10, 2024 appeared first on AFRO American Newspapers.

Art, Culinary, Fashion, Philanthropy – Enter the HALL at LIVE! Maryland Casino &Hotel – Taking a Bite and Elevating the Culture of Charm City.

BALTIMORE (September 6, 2024) – “Adam & Eve: Enter the Garden,” the
2024 theme of the 3rd Annual Baltimore MET Gala (BMG), a multi-sensory,
sophisticated production designed to celebrate all the best parts of Charm City.

Introduced in 2022 and recognized by the Baltimore Times as the Best Live
Performance event in 2023, the BMG features a collection of experiences (Art, Culinary, Fashion, and Philanthropy), wrapped in artistic expression and impact, working inconcert to deliver a best-in-class evening of entertainment at The HALL – LIVE! Casino & Hotel Maryland (Saturday, September 14).

Executive producers and culture creators, LaRian Finney and Derrick Chase, have
been the driving force behind the BMG since the inaugural brand activation at theBaltimore Museum of Art (BMA), building and elevating local businesses and
entrepreneurs through this dynamic production that embraces the city’s commitment toart and culture.

“The Finn Group has led major activations around the country, with Baltimore being our home base since 2000,” says Finney. “Our focus is to provide strategy and solutions to further develop businesses that have a mission for inclusion and economic impact, by being culturally sensitive, relevant, and tying directly to the vitality of the community.”

The impact of the BMG spans beyond Charm City, with featured experiences drawing the attention of creatives from across industries to the region. In July, the model auditions welcomed over 500 hopefuls, including some from San Diego, St. Louis, New York, DC, and even Ohio, to walk for the eleven BMG designers, including Fashion Commission leads Jody Davis and Earle Bannister, who selected the final cut, 150 models, for the Fashion Experience, produced by Lana Rae.

“We know the rich pool of talent is here in the city, and that’s through all genres, particularly the arts, fashion and culinary scenes,” said Chase. “Drawing talent to the city to be part of the Baltimore Story, through this unique production, is a testament to the value we’ve created in the three short years of executing at a high-level of excellence.”

Not to be outdone by Fashion – the Art Experience, “Statement 2024”, curated by Ernest Shaw, Ainsley Burrows, and Laurielle Noel, confirmed 20 diverse artists from a record 90 applicants vying for a coveted spot in the exclusive BMG avant-garde\Art Exhibition. “This exhibition showcases compelling artworks that challenge, provoke, and captivate – featuring a curated selection of pieces based on the event’s theme – Adam & Eve: Enter the Garden.” – BMG Art Experience Curators.

The theme, through the eyes of designer, Shajuan Finney, is the key component of theguest experience at the BMG. “From the moment you step onto the Green Carpet, guests will be met with scents of florals, beauty of visual stories, and feelings of nature – transforming the space into an epic garden of entertainment for creatives and fashionistas,” described Shajuan.

The Culinary Experience, curated by Black Owned Restaurant Tour (BORT) creator, Azikiwe “Zik” DeVeaux, spotlights the Art in the cuisine of the nine restaurants and concepts selected to develop luxurious sweet and savory bites for guests to indulge, and enjoy ‘A Taste of the MET.’

Embedded in the Experiences of the BMG, is the power of community and impact, exemplified by the Community Impact and ICON Award recipients, will be recognized throughout the evening, for their intentional efforts to empower and strengthen Baltimore’s image and mission to be the best city in America. 2024 awardees include:

COMMUNITY IMPACT AWARDS

● P. David Bramble, Managing Partner/Co-Founder | MCB Real Estate

● Edward “Ed” Evans, Director of Diversity, Equity, & Inclusion | Live! Casino & Hotel Maryland

● Linzy Jackson, III, Director of External Partnerships | Office of the Mayor

● Susan J. Lee, Vice President of Diversity Partnerships | MOI

● Detra Neal, Sales Manager, Market, Mid-Atlantic | Kimball International

● Nykidra “Nyki” Robinson, Founder and CEO | Black Girls Vote

● Shelonda Stokes, President | Downtown Partnership of Baltimore

ICON AWARDS

● Jerry Prettyman, Prettyman Gallery Global | Artist ICON Award

● Dr. Lance London, Chairman and CEO, Carolina Kitchen Bar & Grill, and
     NéVetica | Culinary ICON Award

● Toni James, Katwalk Boutique Corporation | Fashion ICON Award

● Travis Winkey, Travis Winkey Studios | Fashion ICON Award

A portion of the proceeds from the 2024 Baltimore MET Gala will benefit Black Girls Vote (BGV), a national, nonpartisan, nonprofit organization dedicated to inspiring Black Girls to use the political process to improve the quality of life for their families and the collective community.

For more information, including partners and sponsors, visit baltimoremetgala.com. Follow on social media, @baltimoremedgala, to join the conversation about the BMG Experience.

Use #BaltimoreMETGala and #BaltimoreMETGala2024.

The post Baltimore MET Gala returns to celebrate Charm City’s best appeared first on AFRO American Newspapers.

By Jonathan Landrum Jr. and Andrew Dalton
AP Entertainment Writers

LOS ANGELES (AP) — Rich Homie Quan, the Atlanta rapper who gained mainstream fame through the trap singles “Type of Way” and “Flex (Ooh, Ooh, Ooh),” has died. He was 33.

Quan, whose legal name is Dequantes Devontay Lamar, died at an Atlanta hospital, the Fulton County Medical Examiner confirmed to The Associated Press. The medical examiner was informed of his death Sept. 5, said Jimmy Sadler, senior medical examiner investigator. The cause of death was not immediately available, with an autopsy scheduled for Sept. 6.

Quan was one of the biggest names in hip-hop in the mid-2010s. He released a slew of mixtapes before he broke through in 2013 with the infectious “Type of Way.” The song became such a success that several other rappers jumped on the remix, including Jeezy and Meek Mill. He maintained his momentum, appearing on a YG track with Jeezy and releasing the London on da Track-produced song “Lifestyle” through his Rich Gang rap collective that included Young Thug and Birdman.

Quan followed up with “Flex (Ooh, Ooh, Ooh),” a song produced by DJ Spinz and Nitti Beatz. It became his highest charting solo single at No. 26 on the Billboard Hot 100 chart. He also featured on Lil Dicky’s viral “$ave Dat Money.”

In 2018, Quan debuted his first and only studio album “Rich as in Spirit,” which mostly went without any features — except for “Think About It,” a single with Rick Ross.

Quavo, Lil Boosie and Playboi Carti are some of the music artists who paid tribute to Quan on social media.

“Rest in Peace my brother Rich Homie Quan,” said singer Jacquees, who also called him a “legend” on X. “I love you for Life.”

Quan spoke with The Associated Press in 2022 about returning to music after an abrupt hiatus. At the time, the rapper said he was going through litigation with independent label T.I.G. (Think It’s a Game Record), but was prepared to make a comeback.

During that time, Quan ended up in a feud with his old collaborator Young Thug — who along with rapper Gunna were among a group indicted on charges of conspiracy to violate Georgia’s RICO Act and also accused of participation in a criminal street gang.

Quan said there was no beef between him Young Thug and was open to having a conversation with him if the opportunity presented itself. He said he hated to see Young Thug locked up, adding that rappers were being targeted by law enforcement.

“I wouldn’t say unfairly targeted because at the same time, some of these rappers are putting guns in videos and, you know, it’s like social media — it goes back to the social media thing,” he said.

“I think we’re showing too much, I think they’re showing too much, you know what I mean. Like that’s the difference in my music, I’ma tell a story but I ain’t going to tell you how I did it,” he added. “It’s still Black art, but we’re definitely being targeted. So that’s why I’m mindful of what I say in my music.”

___

Landrum and Dalton reported from Los Angeles. Associated Press writer Gary Gerard Hamilton contributed to this report from New York. ___

This story has been updated to correct Quan’s age to 33 based on information from the medical examiner.

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By Christina Royster
Special to the AFRO

Morgan State University is sponsoring a national public media effort to tell the world about the value of not only its story, but also the stories of other historically Black colleges and universities in America. The effort, called HBCU Week NOW, is funded by the Corporation for Public Broadcasting (CPB), Public Broadcasting Service (PBS), WORLD Channel and a host of other partners. HBCU Week NOW will feature an unprecedented 30 hours of original programming dedicated to the history and culture of the HBCU in America and will be shown nationally by more than 20 PBS stations that share markets with all 100 HBCUs. 

One of the featured films, “History of A National Treasure: Morgan State University,” premiered in studio at Maryland Public Television on Aug. 27 to an influential group of the Morgan’s senior leadership team, to include the school’s president, Dr. David K. Wilson and Board of Regents Chair, well-known alumnus, Congressman Kweisi Mfume, and Regent, Dr. Linda Gilliam.  Attorney General, Anthony Brown, was also in attendance. 

Maryland Audience members praised the film for its powerful storytelling and necessity as the first documentary to tell a comprehensive story about the founding and more than 150 years of growth of the university through its various stages. The HBCU bore the name Centenary Biblical Institute when it was founded by formerly enslaved clergymen and the Methodist Episcopal Church in 1867, became Morgan College in 1890, Morgan State College in 1939 and finally Morgan State University in 1975.   

The idea for creating the film began when the university’s visionary President, Dr. David K. Wilson, went looking for a comprehensive story of Morgan State University in the school’s library and archives and could not find it. Former Morgan Regent and Dean Emeritus, Dr. Burney J. Hollis unearthed the story of the legendary founders of Centenary Biblical Institute – Reverend Benjamin Brown, Reverend Samuel Green Sr., Rev. Elijah Grissom, Rev. James Harper and Rev. James Peck.  A particularly compelling drama point included Green’s motivation for founding Centenary Biblical Institute after he was arrested for possessing then controversial book, Uncle Tom’s Cabin, which was deemed illegal abolitionist propaganda.  “Because he had that in his hand, he was sentenced to serve 10 years in a Baltimore City Penitentiary,” Wilson says. “He served five years, and was released in 1862.”  Green vowed to blaze a new trail to educate formerly enslaved Americans in the Maryland area after his release.

The documentary not only chronicles Morgan State’s origins, but the former Presidents who shaped it throughout the years, its students historic participation in activism during the Civil Rights era, and beyond, and the school’s rise to prominence as one of the largest HBCUs in the country with a record enrollment of more than 10,000 students. 

“This is the reason why we must be tireless about telling and sharing the HBCU story,” says Travis Mitchell, senior vice president and chief content officer for Maryland Public Television. Mitchell, who graduated from Morgan State in 1992 was also one of the students who led the historic 1990 MSU protest that challenged state funding norms that left many of the university’s facilities in shambles at that time.  The protest led to a $577 million settlement to end a 15-year-old federal lawsuit that accused the state of Maryland of providing inequitable resources to its four historically Black colleges and universities. The funds where divided amongst Maryland’s HBCUs. “When we tell our story, not only do we remember who we are, but we empower a new generation of young people with the knowledge of who they are called to become. We inspire and ignite history in the making.” In fact, history will be made again in 2025 when two additional documentaries chronicling the 1990 student protest and the subsequent lawsuit are released next year on Maryland Public Television. “And Morgan is only one of 107 HBCUs, and each school has thousands upon thousands of untold stories in its history, students and alumni.” 

The 37-minute documentary was filmed by MSU students in the School of Global Journalism and Communication’s Center for New Media and Strategic Initiatives. It was led by the film’s writer and producer, MSU Inaugural Dean Emeritus, DeWayne Wickham. The Center for New Media and  Strategic Initiatives’ mission is to find new ways to solve three age-old media problems in finding innovative ways to report and disseminate news to people who live in urban news deserts; producing contemporary and historical documentaries about Black life in the African diaspora and helping expand the ranks of the Black journalists and news executives who are needed to bring balance and diversity to American journalism. 

Wickham, whose long and impressive career in journalism spans from serving as a correspondent for U.S. News and World Report to being a columnist for USA Today, and founding the National Association of Black Journalists (NABJ).  He has also authored several books.  He applauds the Morgan fellows who helped him create the film. “This project that culminated in this film you are about to see is the work of not just my own effort, but the effort of others who have been working with me,” he said. “I pushed these young people, and oftentimes they pushed back. We got a lot done, in a short period of time.”  The students shared during a panel discussion after the screening the many ways in their participation in the film and study at Morgan has impacted and transformed their lives.

Prior to the screening, a notable Morgan State University alumnus testified to the school’s life transformative and crucial impact on his life, too. Congressman Kweisi Mfume, reflected upon serving as the evening night-time janitor at Maryland Public Television while attending MSU. Mfume recounted how attending Morgan helped him find his way in the world after returning to school to earn his GED Certificate. “I didn’t know what I wanted to study or if I could afford to study anything,” he remembers.  

“I was a teenage parent when I first heard about Morgan, so when I got there in my early twenties, It was like a dream come true,” Mfume said. “It did for me then what it continues to do for so many young people now. That is to meet them where they are, lift them up, and remind them that they are indeed somebody.” 

Maryland Public Television has created a week of local programming  predominantly focused on HBCUs and airing  on MPT Sept. 2-8. HBCU Week NOW is a national campaign featuring HBCU Week NOW on Youtube. For more information on “History of a National Treasure: Morgan State University,” or to view the documentary, visit mpt.org/hbcu.  To find more HBCU Week Programming subscribe to HBCU Week NOW on YouTube.

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By Megan Sayles
AFRO Business Writer
msayles@afro.com

Developer Alan Henderson stepped into content creating out of a passion for architecture and a desire to inspire people to transform their homes even if they’re on a budget.

 In 2019, the Howard University alumnus purchased a home in Washington D.C., and the property became the catalyst for his content creation.  

“The intent was to show people of color that they can improve their rental house or the house they own whether they have a ton of money or not,” said Henderson. “If you don’t have a lot of money, you can put sweat equity and elbow grease in, and you can transform your space into a place you love.” 

Henderson became known on Snapchat for his “do-it-yourself” (DIY) videos, allowing people to learn by example. Throughout his renovation journey, viewers have seen Henderson strip his kitchen and dining room and remodel the space. 

Now, the Mississippi native is advancing his content creation through Snapchat’s 523 program. Launched in 2021, this accelerator was created to support and showcase diverse creators who have historically been under-resourced. The aim is to help participants grow their businesses and audiences through Snapchat’s Discover feed, which displays curated content from creators, publishers and media outlets. 

“Supporting small, minority-owned businesses and creators isn’t just about boosting the economy, it’s about leveling the playing field and breaking down barriers,” said Kyle Leverett, global editorial and 523 program lead for Snapchat. “The 523 program is all about empowering entrepreneurs to follow their own path and innovate with the support they need. By providing essential tools and a strong network, we’re not just celebrating diversity—we’re making sure those diverse voices and talents have the chance to shine and drive real impact.” 

Henderson is one of 15 creators in the 2024 cohort. As part of the program, he is set to receive $120,000 throughout the year, as well as resources, education and one-on-one mentoring to enhance and monetize his content on Snapchat. 

When Henderson discovered he was chosen for the accelerator, he was in disbelief. 

“I was absolutely floored because I knew that the creator space is extremely competitive and a company, like Snapchat, would not invest in an individual who they didn’t believe in,” said Henderson. “I was shocked that they had enough faith in me to afford me the opportunity to be in the program. It was completely life-changing for me honestly.” 

The funding from Snapchat has eased the burden of material costs for Henderson’s renovations, enabling him to take on more projects. He has also been able to hire an assistant to help him with carpentry work. 

The boost in exposure on the social media platform gives him the chance to forge brand partnerships. Since joining 523, Henderson’s following is up 80 percent. He plans to use Snapchat to spotlight his client projects in real time, while expanding his portfolio of properties for future renovations. 

“I believe that Snapchat is progressive in their thinking for doing this because a lot of the creativity we experience in pop culture and the consumer world is driven by diversity,” said Henderson. “I don’t think one group or one type of person is setting the tone for what’s popular or well-received. We all love, like and engage in different ways.”

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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 Stacy M. Brown, NNPA Newswire Senior National Correspondent

(NNPA Newswire) – In a visit to PBS-TV’s The Chavis Chronicles in Washington, D.C., Gloria James and other relatives of NBA superstar LeBron James highlighted the extraordinary impact of the LeBron James Family Foundation (LJFF) and its ongoing mission to uplift and empower communities. The foundation’s efforts, which began in Akron, Ohio, where LeBron was raised, have become a national model for athletes, entertainers and politicians alike.

Gloria, LeBron’s mother, expressed immense pride in her son’s accomplishments both on and off the court. 

“I’m very honored to be LeBron’s mother. He has done so much for our community and for people across the world. He’s so unselfish,” Gloria said, emphasizing that LeBron’s greatness extends beyond his athletic achievements. “He’s not only the G.O.A.T. (greatest of all time) on the court, but off the court. He’s a humanitarian, a great father and husband, and a great advocate for his community, people of color, and the underdog.”

The LJFF, through its flagship I PROMISE program, serves over 1,400 students in the Akron area, offering comprehensive support that extends far beyond academics. The foundation’s work, as Gloria described, is about more than just raising graduation rates; it’s about redefining the concepts of family and community.

“What we learned was that you can’t just help one person in the family and expect it to be of great significance,” Gloria explained. “Even when it comes to housing or food, we address those issues as well. We know that a lot of our families can’t provide meals for themselves for a full family throughout the entire month so we have pantries.”

The holistic approach to community support has become the cornerstone of the LJFF’s mission. “Unfortunately, some kids don’t have that in their lives,” Gloria noted, referring to the love, compassion, and support she said true family offers. “They deserve that, and that way it’ll also help them as they grow into adulthood. Family, we take that very seriously.”

Curtis James, LeBron’s uncle and an assistant at the foundation, echoed Gloria’s sentiments, highlighting the foundation’s recent projects, including a documentary. 

“We just launched a documentary, and my job is to inspire people through my podcast. We want people to do the right thing. It’s not just through our music. Family keeps me in the community, and Akron will always need inspiration, so I try to be a model for people to do better and be better,” Curtis said.

The LJFF’s influence has extended to the University of Akron, where the LeBron James Family Foundation School of Education operates with selective admission criteria to nurture future educators who will continue the foundation’s legacy of community upliftment.

“What I’ve learned through our foundation is that helping your community is probably one of the most important jobs you can have,” said Gloria James, who works as a third-grade teacher’s aide at the I PROMISE school. “Especially if you’re on a platform that allows you to help, not just talk about it, but be about it. Put your money up. Our city has been so responsive positively that it makes us want to do even more.”

The family’s commitment to Akron and its residents is unwavering. As Gloria noted, they are not just making a difference but setting a precedent for others to follow. “We also have blueprints for other athletes, actors, mayors of other cities, and we’re willing to share the blueprint so others in other cities can build up their communities,” she said. “We’ve been able to change lives.”

Reflecting on LeBron’s journey to superstardom, Gloria expressed pride not just in his athletic success, but in his dedication to his community. “I’ve always been very proud of him,” she said. “He’s such a giving and caring and compassionate person. What’s most important to LeBron is the work that he does off the court. That’s the changes that he makes in the lives of the people in our community.”

Gloria also shared her emotions during one of LeBron’s most iconic moments—carrying the Olympic flag. “Every time LeBron exceeds expectations, which is often, I feel he’s given more than he’s received. But seeing him carrying the Olympic flag made me feel even more special; that was almost surreal,” she noted. “Think back years ago when Blacks and people of color had such a hard time being chosen for something so honorable, so to see that made it even more special. To see them with medals around their necks, it just confirms that he’s done all the right things and he’s deserving.”

The excitement continues for the James family, as LeBron’s son Bronny is expected to join him on the Los Angeles Lakers for the upcoming season. “That will be very special. I know LeBron is extremely excited about playing with his son,” Gloria said, beaming with pride at the prospect of the father-son duo making history together on the court.

Sean Jones, a Cleveland native and Curtis’ music partner, accompanied the family to D.C. and reflected on his journey. “When I released my first record, I was called the LeBron James of rap, but who would ever have thought I’d be sitting here today with LeBron’s mother, Gloria, and Curtis,” he remarked, acknowledging the deep connections that the James family has fostered within their community.

Despite the success, Gloria said the family maintains a close circle. “We’ve been really blessed,” Gloria said. “Our family has been respectful. No one has really felt like they want a place in the center circle that we have, so things have worked out really well.”

In reflecting on the foundation’s broad impact, Gloria James summed up their mission with heartfelt pride: “What’s most important to LeBron is the work that he does off the court, that’s the changes that he makes in the lives of the people in our community. Coming from this same community at a time when we also needed this same help, he’s only done what he promised to do.”

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By Mark Sherman
The Associated Press

WASHINGTON (AP) — Supreme Court Justice Ketanji Brown Jackson is embarking on a high-profile, nationwide tour to promote her new memoir, “Lovely One.”

Jackson, 53, is using the book, publisher Random House says, to trace her family’s rise from segregation to her confirmation as the first Black woman on the nation’s highest court in the span of one generation.

“It is the story of the promise of America,” she said in a television interview that aired Sept. 1.

She also is the first public defender to serve as a justice and she delves into advancing in the legal profession as a woman of color and a mother balancing a demanding career and family life.

Since joining the court in June 2022, Jackson has been the most active participant in the argument sessions, according to the Empirical Scotus website. She has at times taken a liberal approach to originalism, a method of interpreting the Constitution more often used by the court’s conservatives.

In her appearances off the court, she has embraced her history-making role, telling an audience on the day of her ceremonial swearing-in that she has “a seat at the table now and I’m ready to work.”

Jackson kicks off the book tour Sept. 3 at New York’s Apollo Theater on the same day the book is published.

Just in the first week, Jackson will make stops at major entertainment venues in Washington, Atlanta, Miami, Seattle and San Francisco.

She reported receiving an advance of nearly $900,000 last year from Random House, putting herself in the company of two colleagues, Justices Clarence Thomas and Sonia Sotomayor, who each received advances of a million dollars or more for their memoirs.

The up-from-poverty accounts of Thomas’ “My Grandfather’s Son” and Sotomayor’s “My Beloved World” landed atop The New York Times’ bestseller list for nonfiction. Sotomayor has earned roughly $4 million for the memoir and children’s books she has written since joining the court in 2009.

Last year, The Associated Press reported that Sotomayor’s court staff was deeply involved in organizing speaking engagements to sell the books and also prodded colleges and universities to buy them.

The court has referred questions about Jackson’s book tour to her publisher.

The Supreme Court adopted its first code of conduct last year in response to sustained criticism over undisclosed trips and gifts from wealthy benefactors to some justices.

The code lacks a means of enforcement and it sets no limit on income justices can earn from books they write. Other outside income from teaching, for example, is capped at about $30,000 a year. The justices are earning $298,500 this year for their work on the court, though Chief Justice John Roberts gets paid a little more.

“A binding code of ethics is pretty standard for judges,” Jackson told CBS’ Sunday Morning.” “And so I guess the question is, ‘Is the Supreme Court any different?’ And I guess I have not seen a persuasive reason as to why the court is different than the other courts.” 

She said she does not “have any problem with an enforceable code” and is considering supporting an enforcement mechanism “as a general matter,” but would not comment on “particular policy proposals.”

Democratic President Joe Biden has proposed an enforceable code of ethics.

Jackson began work on the book shortly after joining the court. The book’s title comes from the English translation of Ketanji Onyika, the name suggested by an aunt who at the time was a Peace Corps worker in West Africa.

“My parents really wanted to honor our heritage and asked her to send them a list of African names. And they picked that one, Lovely One, Ketanji Onyika, which is my given middle name,” she told CBS.

Jackson was born in the District of Columbia and grew up in Miami. She has traced her interest in the law to when she was in preschool and her father, Johnny Brown, was in law school and they would sit together at the dining room table, she with coloring books and he with law books. Her father became an attorney for the county school board and her mother, Ellery Brown, was a high school principal. She has a brother, nine years younger, who served in the Army, including in Iraq, and is now a lawyer.

Justice Neil Gorsuch also has been on the road this summer with his new book, “Over Ruled: The Human Toll of Too Much Law,” written with Janie Nitze, a former law clerk to Gorsuch. Gorsuch has reported receiving advances for the book totaling $500,000.

Yet another justice has a book in the works. Justice Amy Coney Barrett received $425,000 in 2021 as part of a book deal with Sentinel, a conservative imprint of Penguin Random House.

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By Reginald Williams
Special to the AFRO

The pitch arrived just about waist-high. It caught the corner of the plate and had a little heat on it based on the pop of Washington Nationals pitcher Joe La Sorsa’s glove.

Nick Arrington, a Woodbridge, Va. native and prominent cast member on Bravo network’s “Summer House: Martha’s Vineyard,” threw out the ceremonial first pitch for the Nationals versus Chicago Cubs game on Aug. 30, the evening the Nationals honored the legacy of historically Black colleges and universities and the National Pan-Hellenic Council, an umbrella organization for Black sororities and fraternities, which are colloquially known as the Divine Nine.

“I’m throwing out the first pitch to celebrate my fraternity and my HBCU,” explained Arrington, a 2008 graduate of Tuskegee University in Alabama.

As part of HBCU/Divine Nine Night, the Nationals also welcomed Howard University’s Army Bison Battalion & Air Force Detachment 130 to serve as Color Guard for the game. Additionally, hundreds of fans who attended the special event received a commemorative majorette bobblehead. Proceeds from the special ticket sales will be donated to the D.C. Metro HBCU Alumni Alliance, which works to raise awareness, provide resources and offer programs aimed at supporting at-risk individuals and the communities where they live.

Arrington, a standout player at Gar-Field High School and a four-year player at Tuskegee, stood atop the mound and demonstrated a pitching form that suggested he hadn’t lost any skills from his past playing days as a catcher and relief pitcher. 

“Nick threw an awesome pitch. It was awesome to be a part of it,” said Ryan Stowers, a fan from Utah. “I told him I heard some serious snap on his pitch. I loved being a part of it, and I love the mission of HBCUs. I love what he was doing here. We need more of it.”

Surrounded by his mother, Linda Arrington, and his brother, Norman, a North Carolina A&T University graduate, Arrington lived out a childhood dream of one day throwing a baseball on a Major League Baseball diamond. Norman Arrington had the honor of helping his brother warm up before the first pitch and handing him the ceremonial ball.

A rising star in the entertainment space, Arrington was humbled by the opportunity to participate in the Nationals’ annual HBCU/Divine Nine Day.

“I’m here for a number of reasons,” explained Arrington. “We are celebrating historically Black colleges—so if you know, you know. It’s HBCU Night here at National Park and I’m super excited about that. I’m a proud graduate of Tuskegee University. We’re also celebrating tonight the Divine Nine—Black fraternities and sororities.” 

In the spring of 2007, Arrington pledged with the Gamma Epsilon Chapter of the Kappa Alpha Psi Fraternity at Tuskegee.

Throughout the game, which the Nationals lost 7-6, the scoreboard showed scores of HBCU alumni (Howard, Bowie State, Jackson State, Virginia State) throughout the park, rocking their school’s merch, and the sororities Alpha Kappa Alphas and the Delta Sigma Theta represented well.  

Fred Watson, a 1997 A&T graduate and Cubs fan, arrived at the game wearing a Cubs fitted cap and N.C.A&T shirt but had no idea that the Nationals was celebrating HBCU/Divine Nine Day.

“I came out because I’m a Cubs fan,” explained Watson, who is not part of a fraternity. “My guy who went to FAMU got the tickets. Hey, this is perfect, I get to celebrate HBCUs, and my team is winning.”  

In the top of the second inning, the Cubs scored seven runs and never relinquished their lead. 

Evolving from a kid growing up in Woodbridge playing baseball to a growing television personality on the Bravo network and a brand ambassador for Fortune 500 organizations occurred because of what Arrington describes as “one random phone call.” 

“Now we’re (his team) juggling entertainment. We pivoted from corporate America to TV and entertainment,” Arrington said. “It was one of those once-in-a-lifetime things when you get a random phone call for casting, and it’s like, hey, let’s do this. And the thing is, I’m blessed enough to have a strong support system behind me, so why not take a risk? It’s been fruitful. Now I’m here throwing out the first pitch. I go from a corporate office and a suit to lacing them up and being on the mound.”

In addition to being a reality star, Arrington models and styles A-list celebrities. He fancies himself “as a style savant who opine on menswear, lifestyle, travel, and culture to elevate everyday life.”

Arrington’s journey from Woodbridge to Tuskegee to New York and Martha’s Vineyard has been life-changing for the marathon runner, but it was his journey from the sideline to the pitcher’s mound at Nationals Park that fulfilled a lifelong dream.

“It was exhilarating. Can you imagine a Major League stadium? You dreamed of it as a kid, and I have the jersey on. It’s incredible,” Arrington said. “Once in a lifetime.”

Reginald Williams, the author of “A Marginalized Voice: Devalued, Dismissed, Disenfranchised & Demonized” writes on Black men and holistic health concerns. Please email bookreggie@reginaldwilliams.org or visit amvonlinestore.com for more information.

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By Ericka Alston Buck 
Special to The AFRO

The hip-hop community was shaken to its core this weekend with the unexpected death of legendary rapper and hype man Fatman Scoop. The 53-year-old artist, whose real name was Isaac Freeman III, tragically collapsed on stage during a concert in Hamden, Connecticut, on Aug. 30. 

Known for his booming voice and infectious energy, Fatman Scoop was a beloved figure in music, leaving behind a legacy that has inspired countless fans and fellow artists.

A tragic night

Fatman Scoop was performing at the Green and Gold Party, a highly anticipated summer concert that had been rescheduled due to weather, when the unthinkable happened. Midway through his set, as he hyped up the crowd in his signature style, he suddenly collapsed. Despite the best efforts of paramedics and onlookers who rushed to his aid, Freeman was transported to a local hospital, where he was later pronounced dead.

Hamden Mayor Lauren Garrett expressed her condolences, acknowledging the profound loss to the community.

“On behalf of the Town of Hamden, I offer my heartfelt condolences to the family and friends of Isaac Freeman, known as Fatman Scoop,” she wrote on Facebook. “He was a wonderful performer with a wide following, as evidenced by the thousands of fans that came to see what would be his last performance at Hamden Town Center Park.”

Remembering a radiant soul

Fatman Scoop’s family confirmed his death on Instagram, writing, “It is with profound sadness and very heavy hearts that we share news of the passing of the legendary and iconic FatMan Scoop. Last night, the world lost a radiant soul, a beacon of light on the stage and in life.”

The news has prompted an outpouring of tributes from fans and artists alike, all of whom recognized the significant impact Fatman Scoop had on the industry. His ability to energize a crowd was unparalleled, and his contributions to the genre have left an indelible mark.

As the hip-hop community grapples with this sudden loss, there has been an outpouring of condolences and well-wishes for his family and close friends, as well as tributes to the performer.

Megastar rapper Missy Elliot, one of several artists with whom Scoop collaborated, prayed for “strength” for the Harlem entertainer’s family, and praised Scoop’s “voice” and “energy” that made people feel happy and want to dance.

“Your IMPACT is HUGE & will NEVER be forgotten,” Elliot wrote on X.

Baltimore radio personality,  DJ and recording artist Pork Chop, who was often compared to Fatman Scoop, shared his deep sorrow upon hearing the news. 

“Fatman Scoop was one of the greats, and he’ll be deeply missed,” the Charm City entertainer said.

“To me, he was always one of my mentors,” Pork Chop further reflected. “People used to call me the Fatman Scoop of Baltimore because of our voices. We even had people thinking I was him on tracks with Missy Elliott.”

Pork Chop continued, expressing the deep bond he felt with Scoop: “He was always supportive every time I saw him, always telling me to keep going, keep pushing. 53 is young, and it really hit me hard, especially after having a stroke myself recently. The news was devastating and hit home.”

A legacy that will live on

Fatman Scoop’s death is a poignant reminder of the pressures that come with life in the spotlight and the importance of health and well-being. 

DJ Pork Chop, reflecting on the pressures of life as a performer, said, “It’s scary. We don’t know what health problems he might have had, but it makes you think about your own health. I’m definitely walking on eggshells now, trying to eat right and take care of myself.”

Despite the devastating news, however, fans are commemorating the performer’s larger-than-life persona and the joy he brought to countless lives.

“His music made us dance and embrace life with positivity. His joy was infectious and the generosity he extended to all will be deeply missed but never forgotten,” relatives said in their Instagram post.

Fatman Scoop’s career spanned decades, marked by collaborations with some of the biggest names in music. His legacy as a cornerstone of hip-hop will endure as his voice continues to resonate through the anthems that defined a generation. He was known for his work on Missy Elliott’s “Lose Control,” Mariah Carey’s “It’s Like That,” Ciara’s “Level Up (Remix),” and Chingy’s “Let’s Ride.” His track “Be Faithful” became an anthem in clubs across the globe, securing his place as one of hip-hop’s most recognizable voices.

In the words of DJ Pork Chop, “He was a great guy, a mentor, and a legend. Rest in peace, Fatman Scoop. You’ll never be forgotten.”

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By Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

Thousands of bookworms gathered at the Walter E. Washington Convention Center on Aug. 24 for the 24th annual Library of Congress National Book Festival. 

Two-time Emmy Award-winning television host Tamron Hall served as a headliner for this year’s festival among other authors. She hosted a discussion for her new cookbook co-written with Lisa Steiling,  “A Confident Cook.”

The three-story convention center was full of events: book reading sessions for children, author panels, book signings and so much more related to literary success. 

The free event is a way to allow book lovers to gather and hear from some of their favorite authors. Attendees had an opportunity to purchase books from the 90-plus authors that were a part of the festival, as well as get them signed by the authors.

Baltimore native Monet Walker shared with the AFRO that she attended to see and hear from one of her favorite authors, Christopher Paolini, a sci-fi author. 

“I try to go to any book conventions that I do hear of,” she said.

Walker said she believes such events keep the literary culture alive, and thanks social media for spreading the word. 

“Book-Tok (a world wide book community on TikTok) is keeping a lot of these bookstores alive” she said.  “I think the conventions are also keeping the bookstores and physical books alive.”

The compact schedule had a balance between reading events and STEM (science, technology, engineering and mathematics) making it suitable and enjoyable for children. Several organizations such as Black Girls Code, Boolean Girl and NASA had offerings catering to children and young adults. 

“I am an advocate for reading. If you can read, you can do math, you can do anything. So learning your alphabet, learning your letters, learning sentences, word structure is something I am a stickler for,” said Shamir Cole, who attended the festival with her nieces and daughter. “We push reading at home, and I feel like if you can take children to a carnival, you can take them to go learn something.” 

Some families anticipate making the trip to the nation’s capital every year for the day-long festival as a way to bond and grow their love for reading.

“This is maybe our third year in a row attending,” said D.C. native John Pendleton, who attended the festival with his daughter Ava Pendleton. “My daughters inherited their love of books from their mother, so they are serious about books. Ava can go through books pretty quickly, so it gets too expensive if we don’t go to the library.”

“I just like absorbing knowledge from different books and reading about different topics,” said Ava Pendleton. “And I just like reading in general; it’s fun.” 

Each session was captured and is available at www.loc.gov. 

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By AFRO Staff

The AFRO will host its annual D.C. High Tea on Sept. 7 from 2 – 5 p.m. at Shiloh Baptist Church.  

Each year the publication hosts the tea in honor of men and women who have significantly impacted the Black community. 

See pictures from the September 7, 2024 event here. Photo credit: Patricia Mcdougall. And the 360 Video here and below.

The AFRO will recognize Prince George’s County Executive Angela Alsobrooks at the 2024 event, along with Congresswoman Eleanor Holmes Norton, civic leader and professor Cora Masters Barry and Former D.C. Mayor Sharon Pratt. 

“This year’s honorees were chosen due to their remarkable and unwavering service to the D.C. community,” said Diane Hocker, AFRO director of community and public relations. “It’s going to be a delightful tea with lots of high energy. Our attendees will have the chance to network, be entertained and enjoy some delicious food.”

Hocker started planning this year’s tea in December 2023. The event last came to D.C. in 2022, honoring Cathy Hughes, Dorothy Butler Gilliam, Denise Rolark Barnes, Michelle Richardson and Karyn A.Temple. The job of organizing the D.C. tea passed to her after the death of D.C.’s own Edgar Brookins, a beloved member of the community and long-time AFRO circulation and general manager, who orchestrated the inaugural D.C. High Tea years ago. 

“Edgar Brookins was everything. He was ‘Mr. D.C.,’” said Hocker. “He was very instrumental in the AFRO bringing the tea to the D.C. in 2018.”

This year’s tea will be a highlight of the 2024 social calendar, complete with catering from B&B II, great entertainment and of course, the AFRO High Tea fashion show, where participants show off their finest threads and hats. 

Tickets for the 2024 D.C. AFRO High Tea are available for $100 at afrotix.live and the admission price includes a free six month subscription to the publication.

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By Deyane Moses,
Special to the AFRO

The Association of African American Museums (AAAM) has officially returned to Baltimore for its annual conference, taking place Aug. 13-16 at the Hilton Camden Yard.  The event gathers museum professionals, historians and community leaders to explore the profound impact of African-American history and culture on the nation.

Dr. Vedet Coleman-Robinson is a visionary leader dedicated to preserving and elevating African American history and culture. As president and CEO of AAAM, she continues the organization’s legacy as a powerful force for change. Her expertise in museum management, coupled with her unwavering commitment to equity and inclusion, has resulted in significant growth and impact for AAAM.

“Maybe in the last six months or so, our registration has skyrocketed to over 700 attendees for the conference! This is a huge milestone for us. Our membership since I’ve been hired has gone up by over 270 percent. So we’re on a trajectory that we’ve never seen before,” said Dr. Coleman-Robinson.

This year’s conference theme, “Acknowledging Legacy, Fostering Progress,” marks a dual celebration. It commemorates the 60th anniversary of the Civil Rights Act while placing a spotlight on Maryland’s rich African American heritage.

“We couldn’t imagine hosting this conference anywhere else but Maryland,” says Dr. Coleman-Robinson. “The state is steeped in history, from the legacy of Thurgood Marshall and Brown v. Board of Education, to the pivotal role of Morgan State University in civil rights activism.”

Attendees can experience dynamic programming, including engaging sessions, workshops, and keynote addresses. One highlight will be a panel hosted by Afro Charities titled “Reimagining Historically Black Institutions in the 21st Century.” The panel, set for Aug.16 inside of Key Ballroom 10 at the Hilton at Camden Yards, will look at how these institutions have adapted to continue their missions of equality, justice and equity.

The discussion will include directors from the Afro Charities, The National Great Blacks in Wax Museum, The Banneker-Douglass Museum and the Eubie Blake National Jazz and Cultural Center.

Dr. Coleman-Robinson is excited about the distinguished speakers that have arrived in Baltimore for the conference.

“We’re honored to welcome Dr. Carla Hayden, as she concludes her tenure as the Librarian of Congress, as our opening plenary speaker. She will receive the Dr. John E. Fleming Award. Additionally, we will present the John and Marjorie Kinard award to Robert G. Stanton, the first and only African-American director of the National Park Service. And to top it off, we’ll have the incredible musical talents of Sweet Honey in the Rock and Raheem DeVaughn.”

Beyond the inspiring speakers and thought-provoking sessions, the conference will also feature an exhibit hall showcasing the latest museum technology and resources.

Reflecting on the significance of the gathering, Dr. Coleman-Robinson shared, “This conference feels like a much-needed homecoming and family reunion for our members. We share common challenges and triumphs, and coming together creates a safe space to connect, recharge, and return to our work with renewed purpose.”

For more information on registration and the conference agenda, please visit the AAAM website at www.blackmuseums.org.

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By Ariyana Griffin
Special to the AFRO

The Reginald F. Lewis Museum of African American History and Culture has unveiled a new exhibit, titled “iWitness: Media and the Movement.” 

The exhibit comes during the 60th anniversary of the Civil Rights Act of 1964 and commemorates the Maryland activists, community leaders and organizations that shaped the Civil Rights Movement via radio, television, photography and as members of the Black Press.

“We thought it would be very befitting to have an exhibit that becomes something that commemorates the 60th anniversary to the passing of the Civil Rights Act. This [exhibit] is inspired by that act, and it is the lens through which we examine the impact of media on the Modern American Civil Rights Movement,” said Robert Parker, the museum’s chief curator and director of interpretation, collections and education.

Visitors are met with wall to wall pieces of archival history and photos of numerous sit-ins, protests and other historic events from the Civil Rights Movement which were documented by the Black Press. 

Various figures, such as Thurgood Marshall, Dr. Lillie May Carroll Jackson, Victorine Q. Adams, Walter P. Carter and Kelson “Chop-Chop” Fisher are highlighted for their significant roles in the progression of the movement. Each figure has a photo next to their individual section explaining their hand in history. 

“Pauli Murray and Thurgood Marshall, and of course Gloria Richardson, Robert Houston–these individuals are all Maryland natives whose legacies are still something we study, lift up and welcome,” said Parker. 

The museum offered a free community day on Saturday, Aug. 10 for attendees to browse the new offering and the other permanent exhibits in the museum. 

“I came to see the new exhibit, ‘iWitness: Media and the Movement,’ [because] the museum holds something integral to today’s society. Everyone should come down and visit it,” said Karen Brown. 

Bridgette Bullock told the AFRO she was interested in seeing the Black history preserved on record by the Black Press.

“Most of our history [was] erased,” she said. “If we didn’t record it ourselves and prove that we were there, that we created these things– or it was a part of our movement–then it would never be in our history.” 

“We continue to record our own history for our children and grandchildren to see that we actually documented our own history,” said Bullock.

The exhibit shines a light on important dates and events in Maryland history, such as the desegregation of the Gwynn Oak Amusement Park in Baltimore. The park, which featured a prized carousel, was officially desegregated on the same day as the March on Washington, August 28, 1963. 

“iWitness: Media and the Movement” also uplifts the work and sacrifice that students at HBCUs, specifically Morgan State University have done to fight for the progression of society. Throughout the exhibit, visitors will enjoy a plethora of materials from the archives of the AFRO-American Newspapers.

Several events will be linked to the exhibit throughout its duration on display at The Reginald F. Lewis Museum of African American History and Culture, Aug. 8, – Sept. 1, 2025. The museum is open Monday and Thursday through Saturday from 10 a.m. to 5 p.m. On Sunday, visitors are able to enjoy the museum’s offerings from 12 p.m.  to 5 p.m.

The latest exhibit includes an interactive portion, where visitors are able to think about some of the ways media shapes society today. Attendees are also implored to use their voices to speak out about injustices on available platforms. 

“We invite our visitors to sort of a call to action,” said Parker. “We have some reflective questions that we think are thought provoking and very contemporary–questions that have relevance [and] emotional connection to what’s going on right now today.”

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By Ashlee Banks
Special to the AFRO

Members of Congress talk about the importance of Black media organizations like the AFRO and why it is consequential for Black publications to highlight stories impacting marginalized communities.

U.S. Rep. Glenn Ivey (D-Md.-5) believes that since its inception, the AFRO has been a cornerstone in the Black community.  

“Not only a publication, but a public service, the Afro newspapers gives voice to the people, shares important information and knowledge with folks who often don’t see the care and consideration afforded other news consumers,” Ivey told the AFRO.

He added that the AFRO’s “roots run deep in the Black community and has long provided nourishment for our community’s curious minds.  It is a cornerstone in developing our sense of self-reliance, in politics, healthcare, the arts and many other areas of endeavor for people of color.”

John Henry Murphy Sr., a former slave, established the AFRO in 1892. He wanted to use the AFRO as a platform to share pictures and storytelling to advance the Black community and give people hope following the Emancipation Proclamation of 1863.  

The publication is the longest running Black family-owned newspaper in the nation covering a wide variety of issues impacting the Black community including politics, arts & entertainment, foreign affairs, sports, business and more.

U.S. Rep. Gabe Amo (D-R.I.-1) told the AFRO that Black publications are in the best position to elevate Black voices and need to be preserved.  

“Anyone doubting the importance of Black media and diversity in journalism only has to watch Donald Trump’s interview at the National Association of Black Journalists conference,” Amo told the AFRO.

Amo said the former Republican president “wasn’t expecting” the three Black reporters to hold him “accountable.”

The Democratic lawmaker is referring to the controversial discussion that took place on July 31 between ABC’s Rachel Scott, Fox’s Harris Faulkner, Semafor’s Kadia Goba and former President Donald Trump at the NABJ convention in Chicago. The three Black female journalists pressed Trump on his past remarks, key political issues and questions that Black voters have regarding his political record.

Lawmakers believe that Black publications will continue to play a pivotal role in delivering information to voters, especially during this election cycle where Vice President Kamala Harris has made history as the first Black and South Asian woman to run for the Oval Office.

“When journalists take on the task of writing the first draft of history, I hope it’s a draft that reflects the full depth and breadth of the American experience today,” said Amo. “I’m a strong supporter of elevating voices of color because if we don’t tell our stories, then no one will.”

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By Aria Brent
AFRO Staff Writer
abrent@afro.com

Artscape recently returned to Baltimore, drawing thousands to the event that has become a hallmark of artistic expression and community spirit. Held from Aug. 2 to Aug. 4, 2024, artists and art lovers from around the region and beyond descended on Baltimore in hopes of experiencing good music, great food and innovative art exhibits. 

This year’s Artscape festival lived up to its reputation as the largest free arts festival in the nation. Over the three day event, attendees were treated to an electrifying mix of artistic exhibitions, performances and interactive experiences that showcased the rich diversity of Charm City’s creative scene.

“It’s these kinds of cultural events that make the difference in people loving a place and being a part of a place,” said Mark Thomas, president and CEO of the Greater Baltimore Committee. “I like Artscape because it really makes a difference in exposing people to the art scene and the culture. This is a great thing for us to continue to invest in and make sure it becomes even more impactful.” 

Thomas used the weekend to network and enjoy the festival offerings, while also purchasing some art pieces for his home. 

The festival had over 150 vendor booths, each offering a unique glimpse into the world of visual arts. From eye-catching multimedia installations to intricate traditional artworks like paintings and photography, the array of exhibits displayed the depth of local and national talent. Noteworthy installations included a large-scale interactive mural that allowed visitors to contribute their own artistic touches, and a series of thought-provoking sculptures that explored themes of community and identity.

“This festival provides a lot of exposure to culture,” said Jeffrey Kent, a conceptual artist known for his paintings.“It’s bringing culture and art to the street and Black people don’t normally get access to that.”

Aside from visual art, music lovers were not disappointed, as the festival featured an impressive lineup of performances across multiple stages. Musical offerings included jazz, classical music, hip-hop and more. 

Headlining acts included The Original Wailers, Sheila E. and Chaka Khan. However both Sheila E. and Chaka Khan were unable to perform due to inclement weather. 

As a result, local bands had their moment in the sun—and the rain— showcasing the burgeoning talent within the city.

Known for being one of the biggest stages for local artists to establish themselves, Artscape is a safe space for many artists that are just getting their start. Mayor Brandon M. Scott spoke on the importance of Artscape.

“One of the best things about Artscape is how we promote local artists. To see our own folks on the stage is  a great way to honor Baltimore artists both old and new. That’s why we love Artscape and our city so much,” he said.

Rachel Graham, CEO of the Baltimore Office for Promotion and The Arts (BOPA), also spoke on what the festival means to Charm City. 

“There’s no other place in the world it could happen,” she said. “This is a celebration of Baltimore as an arts hub and a cultural mecca. We are celebrating and supporting artists from around the city. You can’t move it because you can’t get that secret sauce that’s available in Baltimore anywhere else, but Baltimore.”

One of the festival’s standout features was its focus on interactive and family-friendly activities. Attendees of all ages had the chance to engage in hands-on art workshops, from pottery making to digital art creation. 

The festival’s Family Zone was a hit, providing a range of activities designed for younger visitors, including craft stations and puppet shows that delighted children and parents alike.

The 40th Artscape festival was more than just a celebration of the arts–it was a reaffirmation of Baltimore’s commitment to fostering creativity and community. The event highlighted the importance of public art and cultural gatherings in bringing people together and enriching their lives.

“It’s important that we do this because this is a very important economic sector to this city,” said Graham. “There’s so much cultural richness. What better way to celebrate than to bring it all together in one place at one time.” 

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By Aria Brent
AFRO Staff Writer
abrent@afro.com

Since 2006 the African Diaspora International Film Festival D.C., (ADIFF D.C.) has provided the D.C. area with an annual festival that highlights Black films from all across the world. This year’s festival is scheduled to take place Aug. 2-4 at George Washington University, located at 2121 I St NW, Washington, D.C. 20052 

With a focus on highlighting the experiences, perspectives and issues that affect communities of African descent from around the globe, ADIFF is proud to showcase their lineup of films this year. Event attendees can anticipate topics such as women’s rights, colorism, homosexuality and gender segregation to be the focal point of some of this year’s films.

“It is a celebration of the human experience in the African world. When I say the African world, I’m referring to Africa as a continent, but also its diaspora,” said Mwiza Muthali, founder and co-director of Africa World Now. “These are the stories and various experiences of African peoples worldwide on film. You’ll notice in this festival there’ll be new films, but there are a couple of films from the past as well. We want to show those, to remind people how some of the issues that have taken place within the African world are still going on.”

When the festival first started, ADIFF D.C. was partnering with Trans Africa, but the organizations parted ways in 2014. Since then, Africa World Now has been partnering with ADIFF D.C. to bring the District a lineup of films that are giving depth to the lives of people throughout the African diaspora.

ADIFF has four annual festivals that take place throughout the year in Chicago, D.C., Paris and New York. Filmmaker Charles Uwagbai spoke to the AFRO about his film “The Wall Street Boy,” which is due to make its U.S. premiere at the D.C., festival. 

“‘The Wall Street Boy” was a collaboration between Canadians and Kenyans because we shot part of it in Kenya and part of it in Canada. It follows the story of a young boy, he’s a mathematician who created an algorithm that changes the stock market and it shows the whole world coming to steal that equation from him,” he said. “One thing I really like about this film is the positive message that it carries. A lot of times when we tell African stories it’s always about the suffering, but this story carries a very positive message. For once we can see the bright lights shining from a little village in Kenya and the whole world is crawling to get that thing that he has.” 

Uwagbai’s film is one of many that will be making their debut in the states. The grand opening film for this year’s festival is “Breaking Boundaries,” a documentary that follows the journey of a young, bi-racial woman who dreams of creating a legacy as a woman of color in rhythmic gymnastics. 

“The grand opening film is ‘Breaking Boundaries’ and it’s about a young lady who was trying to compete in the 2020 Olympics. She’s one of the few Black people to compete in the rhythmic gymnastics event,” said Muthali. “She was one of the top rated gymnasts in the USA for that event. This is a documentary following her journey.”

Following the film’s premiere, there will be a question and answer panel with the star of the film, Stasya Generlova. 

The three-day event is also scheduled to premiere a short film series, “Fighting White Supremacy: The African American Experience.” The three films featured in the series are “Keepers of the Flame,” “Judging Juries” and “How We Get Free.” All of the films focus on the battle against White supremacy throughout the U.S.

The festival’s series of events is truly helping reshape the narrative surrounding Black communities all across the world. Uwagbai explained how much he enjoys being able to share his work with a bunch of different audiences across the world due to the festival taking place in different cities. 

“When I make a film, I want to share it with the world. This festival is amazing because it doesn’t happen in one place,” said Uwagbai. “They’re really taking the message ahead and doing the work for you in terms of promoting the film and the work that you’ve done.” 

With 17 years of experience under their belt, ADIFF D.C., has much more to offer. Muthali explained that although Africa World Now is an activist organization, they began to do the film festival to help provide an outlet for filmmakers of African descent and to help provide a more accurate depiction of Black life.

“We have the film festivals to provide an avenue for filmmakers of African descent to present their stories. In the mainstream distribution system, African stories are not given a space there,” he said “The reason why we started presenting films, even though we’re an activist organization, is to give people a perspective as we’re doing our activism.”

“We want people to have a total understanding of the Black experience  because once you have a total understanding of the people and the culture then it’s easier to work on policy related issues.”

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

(NNPA Newswire) – The Apollo Theater, Harlem’s legendary cultural institution, has made history by earning a rare Kennedy Center Honors, one of the highest accolades in the arts. For 90 years, the Apollo has been the heart of American culture, nurturing emerging artists, launching legends, and serving as a center of innovation for Harlem, New York City, and the world. As the largest performing arts institution dedicated to Black culture and creativity, the Apollo has significantly influenced popular culture globally.

The Kennedy Center’s recognition marks the first time a venue, rather than an individual performer, has received this prestigious award.

“We are thrilled to be the first organization honored in the history of the Kennedy Center Awards, emphasizing The Apollo’s impact on the past, present, and future of American culture and the performing arts,” stated Michelle Ebanks, president and CEO of The Apollo.

The 47th Kennedy Center Honors will also celebrate the lifetime achievements of director and filmmaker Francis Ford Coppola; blues singer-songwriter and guitarist Bonnie Raitt; jazz trumpeter, pianist, and composer Arturo Sandoval; and the surviving members of the countercultural rock band the Grateful Dead.

“I am profoundly humbled and deeply honored to be selected as a recipient of the prestigious Kennedy Center Honors,” Sandoval said. “This recognition is an extraordinary milestone in my career.”

Raitt said she’s “deeply honored and thrilled to have been chosen to receive one of this year’s Center Honors. There is no higher level of esteem nor as delightful a celebration.”

Frances Ford Coppola reflected on his career and the honor, stating, “There’s no greater honor than to be included along with those who inspired me, who I looked up to, and who gave me encouragement when times were dim.”

The Grateful Dead has always been about community, creativity, and exploration in music and presentation, stated the band’s Bob Weir. “We’ve always felt that the music we make embodies and imparts something beyond the notes and phrases being played—and that is something we are privileged to share with all who are drawn to what we do—so it also must be said that our music belongs as much to our fans, the Dead Heads, as it does to us,” he continued. “This honor, then, is as much theirs as ours.”

The Kennedy Center Honors, which raises funds for the Kennedy Center in Northwest Washington, D.C., will be held on Dec. 8 and aired on CBS on Dec. 23.

Meanwhile, for 90 years, the Apollo has served as a testing ground for new artists working across various art forms and ushering in the emergence of musical genres, including jazz, swing, bebop, R&B, gospel, blues, soul and hip hop. The countless legendary artists who launched their careers at The Apollo’s “Amateur Night,” the original, large-scale talent show and one of the longest-running continuous events in New York City, include Ella Fitzgerald, Sarah Vaughan, Billie Holiday, James Brown, Stevie Wonder, Gladys Knight, Luther Vandross, H.E.R., D’Angelo, Lauryn Hill, Machine Gun Kelly and Miri Ben Ari. 

The Apollo’s forward-looking artistic vision continues to build on this legacy. During its 90th anniversary season, the organization opened The Apollo Stages at the Victoria Theater, marking the institution’s first-ever major expansion and renovation. It also began plans to restore and renovate its historic theater. Officials said this will allow The Apollo to increase performances and educational and community programs and expand its support for artists and other cultural organizations.

“From the longest-running talent show in America with, Amateur Night at The Apollo, which launched the careers of icons like Ella Fitzgerald and Lauryn Hill, to performances from beloved legends like Smokey Robinson and Lil’ Kim and today’s biggest stars like Drake, The Apollo has always been a home for artists to create and a home for audiences to see incredible music and art from legendary artists,” Ebanks said.

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By Anissa Durham
Word In Black

If you’re feeling suicidal or concerned that someone you know may be in danger of hurting themselves, call or text the National Suicide Prevention Lifeline at 988. The lifeline is available 24 hours a day, seven days a week and is staffed by trained counselors.

How much time do you spend on social media each day? 

The use of social media has recently come under fire by politicians proposing a ban on TikTok and advising parents to set restrictions for their children. More and more research is coming out that says social media is linked to poor overall mental health. Teens often use popular platforms to connect with others and get support. 

But, for Black teens, what is the danger? 

Here’s what we know 

On average, teens spend about five hours a day on YouTube, TikTok and Instagram. In a 2023 Pew Research Center survey of 13- to 17-year-old teens, Black and Hispanic teens are more likely to say they are online almost constantly. 

The 2023 Gallup Familial Adolescent Health Survey shows that teens who spent four to five hours on social media per day experienced higher rates of worry, sadness, anger and overall poor mental health. Higher social media use was associated with a significantly higher risk of mental health problems for teens. 

Mental health outcomes are reportedly worse for teens with weak parental relationships. The strength of the relationship, in addition to regulation of screen time and supervision contributes to less social media use. 

According to the Centers for Disease Control and Prevention, suicide rates for Black people aged 10-24 changed significantly from 2018 to 2021, with an increase from 8.2 percent to 11.2 percent. As a result, researchers have been exploring what factors are contributing to suicidal ideation and suicide among Black youth. 

A 2024 study explores how Black adolescents experience online racial discrimination and the link to suicidal ideation and traumatic stress. Researchers found an indirect association between online racial discrimination and suicidal ideation among the 525 participants. 

Additionally, the Gallup survey found that teens who spent five hours or more on social media experienced two to three times higher rates of suicidal ideation, self-harm behavior in the past year, and poor body image.

A psychiatrist weighs in

Khadijah Booth Watkins, associate director of the Child and Adolescent Psychiatry training program at Massachusetts General Hospital, says racism and discrimination are considered an adverse childhood experience — alongside domestic violence, neglect, abuse and poverty. 

It’s important for teens to feel safe and connected, but the repeated exposure of people who look like them being victimized on social media is stressful. This reverberates into mental health issues, how the body functions and sleep disturbances. 

“For Black and Brown kids, there’s an extra layer of being exposed to so much discrimination and racism … that makes them vulnerable to depression and anxiety,” she says. 

Watkins also has concerns about how often teens are using social media and what it takes away from them. For example, social media often provides a false sense of reality, which can make it difficult for young people to have realistic expectations. 

“Young people are incredibly impressionable,” she says.  

Research on long-term effects is still underway. But Watkins says it’s becoming more challenging for young people to understand how to read between the lines on social media. 

“What we’re seeing is a group of people who can’t tolerate adversity, frustration and an inability to understand the concept of delayed gratification,” she says. “You can scroll endlessly … and for young people, it stimulates this area of the reward system. It’s harder for them to pump the brakes … so they’re constantly chasing this sense of pleasure and gratification.”

Last summer, the U.S. Surgeon General, Vivek H. Murthy, released an advisory on social media and youth mental health. The 25-page report details the positive and negative impacts of social media on children and adolescents. And examines the different harms youth experience as they use social media.  

A few weeks ago, Dr. Murthy published an op-ed in the New York Times, calling for a warning label to be placed on social media platforms — similar to warning labels placed on cigarettes. 

“An advisory warning is great,” Watkins says. “But, I think the solution is going to be education around what you do. Modeling and teaching young people how to build healthy habits and a healthy relationship with social media.” 

This article was originally published by Word In Black.

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By Madeleine Seck
AFRO Intern
mseck@afro.com

By Mackenzie Williams
AFRO Intern
mwillaims@afro.com

This week, the AFRO compiled a list of family-friendly events that are happening in the D.M.V. area ranging from festivals, movie nights, and networking opportunities. Take a look below to see what’s happening near you!

Baltimore City

Rhythm and Reels

Come out this summer to the Baltimore parks for free popcorn and a movie. Streaming this July is Arthur the King and a live rhythm concert.

Arthur the King
Date: July 19
Time: 5 p.m – 8 p.m.
Location: Eager Park
929 N Wolfe St,
Baltimore, MD 21205

Rhythm Concert House Head Reunion
Date: July 20
Time: 12 p.m. – 8 p.m.
Location: Wyman Park Deli
2929 N Charles St,
Baltimore, MD 21218

Cost: Free

African American Quilters of Baltimore (AAQB) Trunk Show and Fiber Artist Talk with Glenda Richardson

This is a perfect event for hobbyists who love quilting. Get insight from artist Glenda Richardson at the museum as she showcases her work.

Date: July 25

Time: 6 p.m.

Location: Reginald F. Lewis Museum
830 E Pratt St
Baltimore, MD 21202

Cost: Up to $12, members free

Black Woman Genius Elizabeth Talford Scott

Explore the exhibit honoring the work of Elizabeth Talford Scott, a contemporary fiber artist who created exemplary artwork throughout her lifetime

Dates: Feb. 1 through Sept. 30

Time: 10 a.m. – 5 p.m.

Location: Reginald F. Lewis Museum
830 E Pratt St
Baltimore, MD 21202

Cost: Up to $12, members free

Washington, D.C.

DMV Made Festival

Presented by Word Beats and Life at the National Mall, the DMV Made Festival celebrates an intersectionality of art and culture. The venue will hold multiple stages featuring soul, Latin, hip-hop music, Go-go artists and more.
Date: July 27

Time: 1 p.m. – 7:30 p.m

Location: 50 14th Street
Southwest Washington, DC 20004
Smithsonian Metro Stop

Cost: Free

Broccoli City Festival

One of the biggest festivals of the summer in the D.C. metropolitan area, Broccoli Festival will be held at a brand new venue, Audi Field. Headliners feature award-winning artists including Megan the Stallion, PARTYNEXTDOOR, Victoria Monét, Lil Yachty and more.

Date: July 27 – 28

Time: 2 p.m. – 11 p.m

Location: Audi Field
1100 Alabama Ave SE,
Washington D.C

Cost: Starting price $233

Kids World 2024

Join a family-friendly immersive experience at Kids World, where your little ones can go to storytelling sessions, meet-and-greets with their favorite cartoon characters, make a painting, build a bear, enjoy a bubble garden and more,

Date: July 27 – 28

Time: 12 p.m. – 7 p.m.

Location: Franklin Park
1315 I Street NW

Prince Goerge’s County

Black Health Connect: DC 2024 Mixer

Join the Black Health Connect for their 2024 Mixer with other black professionals in the healthcare field for an evening of networking and fellowship. RSVP via eventbrite.com by searching for “Black Health Connect” on the website.

Date: July 12

Time: 5 p.m.

Location: Dirty Habit
555 8th St NW
Washington, DC 20004

Cost: Free

Little Miss Black | Miss Black Teen US of A Pageant

Continuing the legacy, from age two to seventeen are participating in the Miss Black and Miss Black Teen US of A Pageant at the University of Maryland College Park.

Day 1: July 26
Time: 7:30 p.m. – 9 p.m

Day 2: July 27
Time: 1 p.m – 4:30 p.m

Location: Hoff Theater, Adele H. Stamp Student Union
3972 Campus Dr,
College Park, MD 20742

Cost: Up to $40

Movies On The Potomac

Grab a blanket and some popcorn for an outdoor movie on the waterfront at the National Harbor. This month, Willy Wonka and the Chocolate Factory, Arthur: The King, Elvis and more will be streaming.

Dates: Every Thursday and Sunday night through September 29

Time: Thursday at 7 p.m. and Sunday at 6 p.m.

Location: 165 Waterfront Street
National Harbor, MD 20745

Cost: Free

Virginia

“Black Vets and Allies at Ft. Gregg-Adams Starbucks Military Family store”

Sponsored by Starbucks, join the Gregg-Adam’s Military family store to honor Black veterans as they celebrate the 76th anniversary of Executive Order 9981, which desegregated the U.S. Armed Forces in 1948.

Date: July 6

Time: 6:30 p.m – 8 p.m

Location: ​​5320 Oaklawn Boulevard
Hopewell, VA 23860

Cost: Free

Fauquier County Fair

Enjoy a day at the carnival with thrilling rides, games and watch a variety of shows.

Date: July 17-19
Time: 2 p.m -11 p.m

Date: July 20
Time: 9 a.m. – 11 p.m.

Location: 6209 Old Auburn Rd
Warrenton, VA 20187

Cost: Adult $10, $5 for children and senior citizens

Black Girls Code DMV Bootcamp

Ages 11 to 13 are invited to a boot camp to learn about AI-powered technology, meet experts in the field, explore opportunities in STEAM careers and more.

Date: July 29

Time: 4 p.m.

Location: Mastercard Tech Hub #11th floor
4250 Fairfax Drive
Arlington, VA 22201

Cost: Starting at $30

Virtual

Breaking the Chains: Decriminalizing Mental Illness in the Justice System

Join ​​St. Luke Community United Methodist Church as they host their 9th annual Mental Health Symposium. Important figures include Judge Lela Lawrence Mays, presiding Judge of the 283rd District Court in Dallas County, and Commissioner John Wiley Price, of Dallas County, Texas, will be attending.

Date: July 20

Time: 11 a.m. – 2:30 p.m.

Location: Online

Cost: Free

Virtual Writing Hour

Aspiring writers and those looking to pick up a leisure hobby can join the Smithsonian at the National Portrait Gallery for Writing Hours. Writing prompts will be given for 30 minute sessions at a time

Date: July 23

Time: 5 p.m. – 6 p.m

Location: Online Via Zoom

Cost: Free, registration required

The post Upcoming meetings and events in the D.C., Maryland and Virginia area appeared first on AFRO American Newspapers.

By Ericka Alston Buck
Special to the AFRO

Hey, fellas, let’s talk. Relationships, like anything worth having, need a bit of intention and attention to keep the magic alive. Now, I know we’re all feeling the pinch with the prices of food and gas soaring– but don’t let that be an excuse to let the romance fade. Keeping the flame lit is about the little things, the thoughtful gestures, and making time for each other. One great way to do this is by committing to regular date nights.

Date nights don’t have to be extravagant or costly. It’s all about spending quality time together, showing your partner she’s still your number one. So, here are 10 low-cost or even free date night ideas that will keep your relationship thriving without breaking the bank:

1. Stroll through the park: A walk in the park is always a good idea. Hold hands, talk about your day and enjoy nature’s beauty. Maybe pack a light picnic with some homemade snacks.

2. Movie night at home: Create a cozy movie night at home. Choose a film you both love or find a new one. Pop some popcorn, dim the lights and snuggle up together.

3. Cook together or craft cocktails: Try cooking a new recipe together. It’s fun, collaborative and you get to enjoy a delicious meal at the end. If cooking isn’t your thing, how about crafting some specialty cocktails? Find a recipe, gather the ingredients and make a themed cocktail to pair with your meal.

4. Star gazing: Grab a blanket and head to a spot away from city lights. Lay down, look at the stars and talk about your dreams and aspirations. It’s a simple yet romantic way to connect.

5. Game night: Dust off those board games, find some fun two-player games online or bring out a jigsaw puzzle. Add some coloring books to the mix for a relaxing and creative twist. A little friendly competition can be a great way to bond and laugh together.

6. Visit a museum: Many museums have free admission days or evenings. Spend a few hours exploring art, history or science exhibits. It’s a great way to learn something new together.

7. DIY spa night: Light some candles, play soothing music and give each other massages. You can even make some DIY face masks with ingredients you already have at home or visit your local Dollar Tree, which usually has a large selection of masks and other skincare essentials at just $1.25.

8. Bike ride: If you both have bikes, go for a ride around your neighborhood or find a scenic trail. It’s a fun way to stay active and enjoy each other’s company.

9. Attend a free event: Keep an eye out for free community events, like outdoor concerts, festivals or farmers markets. These events can be a fun way to spend time together without spending a lot of money.

10. Bring her flowers: Never underestimate the power of a simple gesture. Next time you’re at the grocery store, pick up a bouquet of flowers. It doesn’t have to be a special occasion to show her she’s special to you.

Maintaining the flame in your relationship is crucial. It’s not just about the grand gestures or expensive gifts; it’s about showing consistent effort and making your partner feel valued. Regular date nights, no matter how simple, can keep the connection strong and remind you both why you fell in love in the first place.

I’ve talked to my good girlfriends, and one thing we all agree on is that feeling cherished is vital. When you take the time to plan a date, even if it’s just a walk in the park, it shows you care. It’s a way of saying, “You matter to me.”

So, fellas, don’t let the hustle and bustle of life steal the joy from your relationship. Make a commitment to keep the flame alive with regular date nights. Show her she’s your priority, not just through your words but through your actions. After all, love is about the little things, the moments of togetherness, and the effort you put in to keep the connection strong.

Remember, it’s not about how much you spend but how much you care. So, go ahead, plan that date night, and bring her those flowers. Have fun, and stay tuned for more advice from “Single in the City” to keep the love alive and thriving.

The post For the fellas: Keeping the flame lit with budget-friendly date nights appeared first on AFRO American Newspapers.

Multi-platinum, Grammy-winning international icon Usher receives ASCAP Voice of the Culture Award; 2024 Best New Artist Grammy winner Victoria Monét accepts ASCAP Vanguard Award

(Black PR Wire) NEW YORK – ASCAP, the American Society of Composers, Authors and Publishers, the only U.S. performing rights organization to operate on a not-for-profit basis, announces the winners of the 2024 ASCAP Rhythm & Soul Music Awards.

Lil Baby, who wrapped up his “It’s Only Us” nationwide tour last year, is this year’s ASCAP Rhythm & Soul Songwriter of the Year. The diamond-certified rapper scored big this year with wins for “Forever,” “Freestyle” and “Heyy,” from his third studio album It’s Only Me. Lil Baby accepted his award tonight at an invitation-only event in Los Angeles celebrating this year’s ASCAP Rhythm & Soul Music Award winners.

Multi-platinum, Grammy-winning global icon USHER is honored with the prestigious ASCAP Voice of the Culture Award for his influence on music and culture, in addition to his songwriting wins for his songs “Glu” and “Good Good.” USHER accepted the award from legendary producer Jermaine Dupri. 2024 Best New Artist Grammy Award winner Victoria Monét was also on hand to receive the ASCAP Vanguard Award for her innovative work that is helping to shape the future of music, in addition to her most-performed song award for “On My Mama.” ASCAP Chairman of the Board and President Paul Williams and ASCAP SVP of Membership Nicole George-Middleton presented the artist with the esteemed award, in front of a crowd of songwriter peers and music publishers.

“Snooze,” performed by SZA, earns the ASCAP R&B/Hip-Hop and Rap Song of the Year. Co-written by Leon Thomas and published by Eclectic Collective Publishing and Sony Music Publishing, the song topped the Billboard R&B/Hip-Hop Airplay chart, earning a historic milestone after an unprecedented 30 weeks at  #1. This feat was the most any song has accomplished in the list’s 31-year history, and it was the only song to spend the entirety of 2023 on the Billboard Hot 100.

ASCAP Gospel Song of the Year goes to “Goodness of God” (Cece Winans), co-written by Brian Mark Johnson and Jennifer Louise Johnson and published by Bethel Music Publishing.

Warner Chappell Music earns ASCAP Rhythm & Soul Publisher of the Year Award for songs including “Calm Down” (Rema & Selena Gomez), “Fukumean” (Gunna), “Good Good” (USHER), “Hotel Lobby” (Quavo & Takeoff), “Rich Baby Daddy” (Drake), “Spin About U” and “Rich Flex” (21 Savage & Drake), “What It Is” (Doechii) and “Praise God” (Kanye West, Travis Scott & Baby Keem).

Additional 2024 ASCAP Rhythm & Soul Award-winning songwriters include 21 Savage (“Good Good,” “Spin Bout U,” “Peaches & Eggplants,” “Rich Flex”), Lil Uzi Vert (“Just Wanna Rock”), Summer Walker (“Good Good,” “Karma”), Coco Jones (“ICU”), Smokie Norful (“I Still Have You”), Tye Tribbett (“New”) and more.

A full list of 2024 ASCAP Rhythm & Soul Music Award winners is available at https://www.ascap.com/rsawards24.

The ASCAP Rhythm & Soul Music Awards recognize the songwriters and publishers of the most-performed songs of the past year based on Luminate data for terrestrial and satellite radio and streaming services, as specified by the ASCAP Rhythm & Soul Music Awards rules.

About ASCAP

The American Society of Composers, Authors and Publishers (ASCAP) is a membership association of more than one million songwriters, composers and music publishers, and represents some of the world’s most talented music creators. In 2023, ASCAP reported record-high financial results of $1.737 billion in revenues and $1.592 billion available in royalty distribution monies to its members. Over the last eight years, ASCAP has delivered a 7% compound annual growth rate for total revenues, and an 8% compound annual growth rate for total royalty distributions to members. Founded and governed by songwriters, composers and publishers, it is the only performing rights organization in the U.S. that operates on a not-for-profit basis. ASCAP licenses a repertory of over 20 million musical works to hundreds of thousands of businesses that use music, including streaming services, cable television, radio and satellite radio and brick and mortar businesses such as retail stores, hotels, clubs, restaurants and bars. ASCAP collects the licensing fees; identifies, matches and processes trillions of performances every year; and returns nearly 90 cents of every dollar back to its members as royalties. The ASCAP blanket license offers an efficient solution for businesses to legally perform ASCAP music while respecting the right of songwriters and composers to be paid fairly. ASCAP puts music creators first, advocating for their rights and the value of music on Capitol Hill, driving innovation that moves the industry forward, building community and providing the resources and support that creators need to succeed in their careers. Learn more and stay in touch at www.ascap.com, on X and Instagram @ASCAP and on Facebook.

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Source: American Society of Composers, Authors and Publishers (ASCAP)

The post PRESS ROOM: 2024 ASCAP top Rhythm & Soul Music Award winners include Songwriter of the Year Lil Baby, Song of the Year ‘Snooze’ and Publisher of the Year Warner Chappell appeared first on AFRO American Newspapers.

By  Chevel Johnson Rodrigue
The Associated Press

For 30 years, the Essence Festival of Culture has brought together people from all walks of life and from around the world to connect through conversation, shared experiences and, of course, music. 

The nation’s largest annual celebration of Black culture ended Sunday with musical performances by Janet Jackson and a special tribute to Frankie Beverly & Maze, the soul band that closed the event for the festival’s first 15 years. Beverly, now 77, has said he is stepping away from performing live, and the group has been on a farewell tour. 

Others performing included Victoria Monét, Teedra Moses, Tank and the Bangas, Dawn Richard, SWV, Jagged Edge, Bilal and Anthony Hamilton.

Barkue Tubman-Zawolo, chief of staff, talent and diasporic engagement for Essence Ventures, told The Associated Press the festival helps connect the global Black community.

“Historically, as Black people, sometimes we’re not sure where our heritage comes from,” Tubman-Zawolo said. “America is just one place. But within America there’s a melting pot of different Black cultures: Africa, Latin, Europe, the Caribbean. Understanding that allows our power to be even greater.”

Tubman-Zawolo said those connections could be seen throughout this year’s Film Festival, held at the city’s convention center, where fans heard from storytellers from Nigeria, Ghana and the Caribbean “who are targeting our stories about us, for us, globally. ” 

She noted similar connections through the Food and Wine stage, where discussions highlighted Caribbean and African cuisine; the Soko Market Place, where vendors from all over the world shared their craft; and on the Caesars Superdome stage, which spotlighted Caribbean and African artists including Machel Montano of Trinidad. 

“All of that occurred over four days,” Tubman-Zawolo said. “But the beauty of it is, it doesn’t stay here. (Fans) take it with them.”

New Orleans Mayor Latoya Cantrell said this year’s “We Love Us” theme was appropriate. 

“This whole ‘We Love Us’ theme brought us together to build communities,” she said.

The festival’s impact on the city and state has surpassed $300 million, with more than 500,000 people visiting since 1994.

Essence started the festival as a way to celebrate 25 years of the magazine’s history.

“The locals are being incorporated in a manner that we can see and touch and feel and smell. That has been a part of the evolution of Essence,” Cantrell said.

The event’s current contract ends in 2026, but Essence Ventures CEO Caroline Wanga has said the festival’s “forever home” is New Orleans.

“That’s what we believe as well,” Cantrell said. “We have a foundation that’s been laid over 30 years. The city is always ready and prepared to host this event and more. I think staying in New Orleans is the best fit and best marriage, the best partnership.”

This article was originally published by The Associated Press.

The post Essence Festival wraps up a 4-day celebration of Black culture appeared first on AFRO American Newspapers.

By Amber D. Dodd
Special to the AFRO
adodd@afro.com 

On Father’s Day, recognized this year on June 16, Hannah Rosenzweig, Jamal Holtz and Diane Robertson premiered their film “51st State.” The documentary was shown at the second annual D.C./DOX Film Festival, a program that highlights projects capturing and cultivating life in the nation’s capital. 

Rosenzweig created the film while Robertson served as the executive producer. The documentary follows statehood activists and D.C. natives Holtz and Demi Stratmon. Their work is housed under 51 for 51, an organization committed to D.C.’s statehood.

“We have to see D.C. statehood as a fight for racial justice,” Holtz told the AFRO. “There are people who are advocating around racial justice across the country, but we have to see D.C. statehood as an intersection to those issues.”

In 1787, the founding fathers decided that D.C. cannot have congressional representation since the federal government is located there. 

This set the precedence for the lack of political power and representation for D.C.’s 700,000 residents today. Though D.C. residents are America’s highest taxpayers, there is no Senate or State representation.

Historians argue that D.C.’s statehood is an issue of voter suppression and disfranchisement as Wyoming and Vermont, two states with lower populations than D.C., possess full political representation in the House and Senate. 

“People don’t think about this as a voting rights issue, but it very much is,” Stasha Rhodes, strategist and Democracy Reform Leader and former director of 51 for 51, said. “Our democracy, specifically in the Senate, gives more power to smaller, Whiter, redder states.”

United States House of Representative Eleanor Holmes Norton, a staple in the nation’s capital, serves as Congress’ only representation for the district.

“We don’t have any senators, the District of Columbia only has me on the House floor,” said Norton, who makes an appearance in the documentary. “The fight is really about becoming equal to other Americans.”

The fight for D.C. statehood is done through three different legislative acts; For the People Act (H.R. 1), The Washington D.C. Admissions Act (S.51) and the John R. Lewis Voting Rights Advancement Act (H.R.4.). The bills did not pass during the 2021 legislative session.

The bills garnered the support of notable politicians such as the ACLU, U.S. Senator Cory Booker (D-NJ) and U.S. President Joe Biden. 

“We have to push those individuals, especially those Democrats senators who have not yet spoken on D.C. statehood,” Stratmore said. “D.C. is a Black and Brown place, it’s easy to disenfranchise a group of people that have been disenfranchised for the entire history of this country.”

Holtz and the 51 for 51 team vie for statehood in other avenues such as the Young Democrats of D.C.. Holtz becomes president of the respective organization, inviting D.C. Mayor Muriel Bowser.

“We are always going to fight for D.C. statehood,” Bowser said, to the Young Democrats of D.C. “I am counting on you to take us to the next level.”

Robertson, Rosenzweig and Holtz participated in a panel after the documentary’s premiere. Fawn Johnson, news director of the Bloomberg Industry Group, moderated the panel. 

“As a historian and democracy advocate, I just saw this as the perfect story to tell,” Robertson said. 

“D.C. is not going to become a state until the other 50 states decide that it should be a state, and that requires education, so this was the perfect vehicle to tell a story that would go beyond its intended audience and be used in places where people aren’t thinking about it.”

The trio agreed that the film serves as a starting point for nationwide support of D.C. statehood. “One of the things Jamal and I talked about was the importance of this story…of the need for statehood outside of the city,” Rosenzweig said. “That was a reason for somebody outside of the district like myself to make the film and hopefully bring it to new audiences. ”

Visuals of the everyday Black Washingtonians enjoying their lives, even through their struggle for political representation, is a potential connection point for D.C.’s goals for statehood.

“Culture allows for connection,” Holtz said on authentic D.C. representation. “I go back to using the word ‘humanity.’ People get to connect with the human themes rather than the policy.”

Longtime statehood activist Henry Hughes said statehood efforts are intertwined with the roots of Black activism. 

“This cycle is about self determination,” Hughes said.

If D.C. earns its statehood, it would be the first majority Black state in American history. This, Holtz says, could garner the support of Black communities who could empower their respective senators to support D.C. as the 51st state.

“There are Black people in South Carolina, in Texas, all over the country that have a connection to the Black culture displayed at an all-time high in Washington D.C.,” Holtz told the AFRO. “I think it’s important to showcase what D.C. is for other people to at least feel an immediate connection and familiarity…Black people across the country should be outraged that D.C. is not a state.”

The post D.C. activists vouch for statehood as ‘51st State’ documentary premieres at D.C./DOX Film Festival appeared first on AFRO American Newspapers.

By Aria Brent
AFRO Staff Writer
abrent@afro.com

Black Restaurant Week is returning to Washington D.C. and Baltimore for its fifth year July 16-30. The two week event  focuses on stimulating the economy of the Black community in Charm City and the District. Each year, Black-owned culinary businesses and professionals who cannot afford marketing campaigns are celebrated and promoted to the public. With a variety of cuisines, businesses and culinary artists being highlighted during the 2024 campaign, the D.C., Maryland and Virginia area is in for a treat. 

According to the James Beard Foundation’s 2023 Industry Report, 53 percent of culinary business owners garnered lower profits last year due to the constant rise in food and labor costs. The costly changes have impacted menu prices and profits significantly since 2022.

“Black Restaurant Week is not only making people aware of amazing restaurants, but it is also increasing foot traffic for these businesses,” said Derek Robinson, a managing partner for Black Restaurant Week. “Black Restaurant Week is giving folks a great opportunity to support their own local businesses and try out new spots. We’re super excited to get these businesses more stability and more financial support from their communities.” 

Last year approximately 100 participants connected with the Greater Washington, D.C. campaign, whose mission is to “feed the cultural famine.” Through this mission they’ve not only prioritized rescuing the Black restaurant industry but also helped the public understand the beauty of ethnic cuisines while eliminating the stigmas around it. 

A plethora of local restaurants are set to participate in this year’s event, including Lydia on H, Appioo Bar and Grill, Berries by Quicha, D.C. Capital Square, England Eatery and many more. 

Aisha England, chef and owner of Baltimore’s England Eatery, weighed in on what she hopes to gain from the event.

“Last year around this time I’m not even sure if we were ready, but [we are] a year into the new location and being able to host people for dining. I look forward to bringing in those folks and having them experience our food,” said England. 

Although being a Black business owner comes with many struggles, England noted that receiving financial support for her business has been very challenging.

“The biggest thing is funding,” said England. “My biggest struggle is being able to get funding to do stuff. I’ve gotten a lot of grants and I’m blessed to have those. I know some of the things that have happened to me don’t happen to bigger corporations as far as funding goes.”

While many of the participating business owners are looking forward to the financial benefit of Black Restaurant Week, they’re equally excited for the opportunity to network and connect with their communities. 

“I’m looking forward to meeting new people and new patrons of course, and connecting with new restaurants,” said LaQuicha Brown, owner of Berries by Quicha, located in Baltimore.

Black Restaurant Week will conclude on July 30. After nine years, the initiative has helped more than 3,000 restaurateurs, bartenders, chefs, caterers and food trucks.

Tierra Stone, an AFRO Intern, contributed to this article. 

The post Black Restaurant Week returns to D.C. and Baltimore area for fifth year appeared first on AFRO American Newspapers.

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.

The post Cherry Hill Arts and Music Waterfront Festival returns for eighth year appeared first on AFRO American Newspapers.

By Megan Sayles
AFRO Business Writer
msayles@afro.com

Natural hair care founder Nicole Schuler is set to host the inaugural Hair Education and Beauty Summit (HEBS) on July 7-8 at the Meadowlands Exposition Center in Secaucus, N.J. The two-day event will feature panel conversations, live demonstrations, workshops, musical performances and competitions. 

Schuler was inspired to create the summit after attending hair shows herself. She realized the high costs associated with the events could deter hair professionals from attending them and getting the exposure they need to build their brand. 

“There’s so much bureaucracy that goes into it. You might have to spend $10,000, and an average person is not going to spend that to be able to expose their unique talents,” said Schuler. “The Hair Education and Beauty Summit is providing you with that platform. It’s a big network that brings people together feasibly and affordably.” 

The Nigeria native is the creator of PureO Natural Products, a multicultural hair care line she started in 2012. Growing up, Schuler recalled her hair being shaved in the fifth grade—a practice that was commonplace in schools at the time. 

When she moved to the states, she discovered that her shaved head was unconventional. 

“Being thrown into America in the seventh grade, coming here baldheaded was not acceptable. My normal became abnormal in America, and it became a struggle finding a look that I could embrace,” said Schuler. “I think it took me 10 to 15 years to find the look that speaks to me.” 

HEBS is her way of creating opportunities for hair professionals in the state she spent much of her life in. The exhibition is divided into seven specialities, including barbering, locs and braids, protective styling, nail art, skincare, make-up and hair coloring. Each experience has experts sharing their techniques through group discussions, demos and consultations. 

HEBS will also feature four contests, including a barber battle, wild and crazy hair competition, a business pitch competition and a fantasy hair challenge for cosmetology students. 

Celebrity hair stylist Terrence Davidson, affectionately known as the “King of Hair,” will serve as a judge for the latter. 

“You can’t have a fantasy hair competition without having someone who kills the game and has been winning for years in this category. I’m all in for that,” said Davidson. “I love seeing people create. I love giving back to those who are trying to come up in the game and build the same way I built.” 

In highschool, the New Jersey native designed hairstyles for his female peers. Although he intended to obtain a business degree in college, he discovered he didn’t have a passion for it. Davidson decided to go to cosmetology school instead. 

After running a few hair salons in Atlanta, he started working for celebrities. His first client was the late Lisa “Left Eye” Lopes of R&B girl group, TLC. He’s since worked with Remy Ma, Lil’ Kim and Patti LaBelle. 

Davidson commended Schuler for putting on HEBS. 

“We need more Black beauty brands to put on shows like this,” said Davison. “That way, we can support each other in the best way we can.”

The post Hair Education and Beauty Summit to shine a spotlight on Black hair appeared first on AFRO American Newspapers.

By Tierra Stone
AFRO Intern
tierrastone@afro.com

and

By Mackenzie Williams
AFRO Intern
mwillaims@afro.com

This week the AFRO compiled a list of events happening throughout the month of July in the D.C., Maryland and Virginia (DMV) area. Take a look below to see what’s happening near you!

Baltimore

Captain America Movie Marathon

Are there any Marvel fans in the family? If so, the Enoch Pratt Central Library, which sits in the heart of downtown Baltimore is hosting a Captain America movie marathon–perfect for all the superheroes in your life.

Date: July 6

Time: 10:00 a.m. – 4:30 p.m.

Location: Enoch Pratt Central Library (Wheeler Auditorium)
400 Cathedral Street
Baltimore MD, 21201

Cost: Free

First Thursdays: Make and Mingle

Make art and mingle is an adults-only event to not only socialize but also unleash creativity with other locals. There will be food and drink vendors available for purchase and art supplies will be provided. If you have a membership with the museum you will receive a complimentary drink on the house, and any college students can show their ID to get a free cup of coffee.

Date: July 11

Time: 6 p.m – 7 p.m.

Location: The Walters Art Museum (Walters Cafe)
600 North Charles Street
Baltimore MD, 21201

Cost: Free

Walk A Mile in My Dreams Performance by Joyce J. Scott

The Baltimore Museum of Art is hosting an event led by musical artist Joyce J. Scott with collaborators Lorraine Whitlessey, and jazzman Derrick Thompson. Space is limited and all attendees must register online. Register at https://checkout.artbma.org/.

Date: July 14

Time: 2:30 p.m. – 3:30 p.m.

Location: Baltimore Museum of Art
10 Art Museum Drive
Baltimore MD, 21218

Cost: Free

Community Briefing: Caring for Maryland’s Children

Maryland public defender, Natasha M. Dartigue is hosting a virtual event that will feature an overview of the youth crime bill—the Yes Act as well as discuss the office of public defender’s community outreach and resources. Link: www.facebook.com/MarylandOPD

Date: July 16

Time: 3:00 p.m.

Location: Virtually on Zoom

Cost: Free

Summer Sounds at the Square

Make sure to bring your family and friends to historic Belvedere Square and enjoy a live musical performance by the local band The New Romance. The parking lot will be converted into an open-air market where there will be food and drink from local businesses such as Atwater’s, Prigel Family Farm, Sassy Squeeze and so much more.

Date: July 19

Time: 6 p.m. – 9 p.m.

Location: Belvedere Square
529 East Belvedere Avenue
Baltimore MD, 21212

Cost: Free

Red Cross Blood Drive

The Enoch Pratt Central Library is hosting a blood drive to help those in need. All prospective donors will go through a screening process before their donation and will receive a snack after the procedure. Make sure to stay hydrated and drink plenty of water for the best result possible. All donors are required to register at https://www.redcrossblood.org/.

Date: July 20

Time: 10 a.m. – 2 p.m.

Location: Enoch Pratt Central Library (Creative Arts Center)
400 Cathedral Street
Baltimore MD, 21201

Cost: Free

Washington, D.C.

Bold & Beautiful: After Dark

The Anacostia Community Museum is showcasing its new after-dark series of 2024 with a viewing of its exhibit, Bold and Beautiful Vision: A Century of Black Arts Education in Washington, D.C.,1900-2000. Enjoy this summertime theme with glow-in-the-dark art, jams by DJ Farrah Flosscett and a guided art phenomenon by instructor Lex Marie titled “Luminous Landscapes: A Neon Night of Art.” This event is 21+ register at https://www.eventbrite.com and search for Bold & Beautiful: After Dark.

Date: July 25

Time: 7 p.m -10 p.m

Location: Anacostia Community Museum
1901 Fort Place SE
Washington, D.C., 20020

Cost: Free

Jazz in the Garden

The National Gallery of Art will be hosting a jazz music concert every Friday until the first week of August. Come enjoy an outdoor experience with your family and friends with a new artist every week. The museum recommends public transportation and blankets for sitting in the grass, first come first serve. Tickets are placed in a lottery system so make sure you check the website for open time slots to register. For any other questions please contact tickets@nga.gov and register at https://tickets.nga.gov/events/.

Date: Every Friday until August 9th

Time: 6 p.m. – 8:30 p.m

Location: National Gallery of Art
The Sculpture Garden (located on the north side
of the National Mall between 7th and 9th Streets NW.)
Washington, D.C., 20565

Cost: Free

Asia in the Dark

In light of Bruceploitation weekend, The National Museum of Asian Art is hosting a film screening and after-hour party. The museum will leave exhibits open while you enjoy food, music, and a special screening of The Dragon Lives Again. If you register for the film you must be in line by 6:50 to claim your seat. Registering for the event and film is done so separately, register at eventbrite.com by searching for the event, and register at https://hkclassics.eventive.org/ for the film.

Date: July 13

Time: 5p.m – 8p.m

Location: National Museum of Asian Art
1050 Independence Avenue SW
Washington, D.C., 20004

Cost: Free

PG County

Community Health is Wealth Fair

The V.K. Nyambi Foundation is hosting a community event where attendees can receive free health screenings and testing for vision, kidney, HIV, and Hepatitis B. There will also be resources for mental health, marital counseling, and financial advising. The event will also include free food giveaways as well as light refreshments being served.

Date: July 21

Time: 2 p.m. – 6 p.m.

Location: Hampton Conference Center
207 West Hampton Place
Capitol Heights, MD, 20743

Cost: Free

The post Upcoming meetings and events in the Baltimore and D.C. and Virginia Area appeared first on AFRO American Newspapers.

By Aleisha Robinson
AFRO Intern
arobinson@afro.com

and

Gabby Howard
AFRO Intern
ghoward@afro.com

As summer kicks into high gear, the D.C, Maryland and Virginia area is quickly becoming the place to be for fun in the sun. This week the AFRO interns compiled a mixture of events that will range from festivals, museum happenings, panel discussions and bike tours. Take a look at the events below to find something that piques your interest and don’t forget to register!

Baltimore

The National Great Blacks in Wax Museum’s 8th Annual “Voices of History” Street Fair

The National Great Blacks in Wax Museum, Discover Me, Recover Me and T.E.A.C.H will be hosting a free community event to celebrate Black history, culture and community. Music and live performances will be featured, along with local talent, vendors, art, food and more.

Date: July 13

Location: The National Great Blacks in Wax Museum
1601-1649 East North Avenue
Baltimore, MD 21213

Time:11 a.m – 6 p.m

Prince George’s County

U.S. Africa Collaborative

The Pan African City Exposition which is hosted by Bowie State University and sponsored by Wells Fargo will host a series of events to educate people of sustainability and urban development. The event will have plenary sessions with speakers such as Dr. Ernest Khalema, Ph.D, Maria Day Marshall Esq., Dr. Sijekula Mbanga, Ph.D and CEO of York Housing Authority Regina Stone Mitchell.

Date: June 26-29

Time: Sessions are on June 26, June 27 and June 28 are from 10:45 a.m – 5:15 p.m. and June 29 from 10:45 a.m – 5:30 p.m. See schedule for more details.

Location: Bowie State University
National Sciences Building and Student Center
14000 Jericho Park Rd, Bowie, MD, USA.

Cost: Free, (registration link): https://usafricacollaborative.org/registration/

Washington D.C.

NoMa BID: Sunset Concert Series

NoMa BID and DC Fray are hosting a Sunset Concert Series to celebrate a diverse culmination of artists and music ranging from go-go, funk, indie and more. There will be vendors and food trucks.

Date: June 11 to July 30

Time: 6:30 p.m – 8:30 p.m

Location: Alethia Tanner Park
227 Harry Thomas Way Northeast
Washington D.C. 20002

Cost: Free, RSVP on Eventbrite

W.E.B Du Bois Ethiopianism and Black Internationalism | Busboys and Poets Books

Busboys and Poets will host a conversation with Dr. Wayne A. Rose, Ph.D, along with Professor Robbie Shilliam, Ph.D to discuss his research on W.E.B. Du Bois and Black internationalism.

Date: June 30

Location: Busboys and Poets (Takoma)
235 Carroll Ave NW
Washington, DC 20012

Time: 6 p.m – 8 p.m

Cost: Free, RSVP on Eventbrite

A Night of Worship And Prayer
Worship leader and composer John Bolin and the Voices of Praise Choir are hosting “A Night of Worship and Prayer.” This live event features uplifting music, heartfelt prayers, and spiritual reflection of the Museum of the Bible.

Date: July 3 – 6
Time: Doors open at 5:15 p.m and event starts at 6 p.m

Location: World Stage Theatre
400 4th Street Southwest
Washington, DC 20024
Cost: Free, RSVP on Eventbrite

Subversive, Skilled, Sublime: Fiber Art by Women

Visual artist Mary Savig and Curator of Craft Lloyd Herman are hosting the virtual Subversive, Skilled, Sublime: Fiber Art by Women Lecture. This event will immerse listeners in discussions about art by women at SAAM’s Renwick Gallery.

Date: July 11

Location: Zoom

Time: 7 p.m – 8 p.m

Cost: Free, (registration link): https://americanart.si.edu/exhibitions/fiber-art-by-women

Housing and Urban Development Disabled Veteran Owned Small Business Event
The U.S. Department of Housing and Urban Development (HUD) Office of Small and Disadvantaged Business Utilization (OSDBU) is hosting the 17th Annual Service-Disabled Veteran-Owned (SDVOSB) event at the HUD headquarters building. This event will provide businesses with information about the laws, rules, and regulations that govern SDVOSB.

Date: July 11
Time: 10 a.m -1 p.m

Location: U.S. Department of Housing and Urban Development
451 7th Street Southwest
Washington, DC 20410

Cost: Free, RSVP on Eventbrite

Hill Family Biking- Yards Park Ride

A network called Hill Family Biking is organizing a four-mile bike ride around Capitol Hill and adjacent regions of DC. Free Ice Cream will be provided to 200 ride participants starting with kids. Families are encouraged to be 15 minutes early if their bikes need maintenance. The police bike team will be in attendance.

Date: July 20
Time: 4 p.m – 5:30 p.m EDT

Location: Payne Elementary
1445 C Street Southeast Washington D.C, 20003

Entrances on 14th and D
Cost: Free, RSVP on Eventbrite

Virginia

Annual Voter Registration Training

The League of Women Voters of Arlington is holding an annual voter registration training event to inform the public because on July 31 registration and certifications will officially expire in Virginia.

Date: July 14

Location: Unitarian Universalist Church (The Activity Room)
4444 Arlington Boulevard
Arlington VA 22204

Time: 2:30 p.m – 4 p.m

Cost: Free, RSVP on Eventbrite

Black Pride RVA – Day of Purpose Festival

The Greater Richmond Convention center will be hosting a “Day of Purpose Festival.” This event will focus on the strength and diversity of the BIPOC LGBTQIA+ community. The attendees can enjoy live musical performances, art exhibits, and various vendors.

Date: July 20

Location: Greater Richmond Convention Center
403 North 3rd Street
Richmond VA 23219

Time: 11 a.m – 4 p.m

Cost: Free, RSVP on Eventbrite

The post Upcoming meetings and events in the D.C., Maryland and Virginia area appeared first on AFRO American Newspapers.

By Black PR Wire

(Black PR Wire) – Debutante balls have traditionally been associated with a particular kind of coming of age: that of teen girls who are well-to-do and, for the most part, white. A newly revived Black debutante ball in Canton, Ohio, uses the cotillion experience as programming for Black girls, many of whom live below the poverty line.

“The Debutantes,” which premiered this summer at the Tribeca Film Festival, presents three young “debs” — Teylar Bradley, Amelia Boles and Dedra Robbins — as they grapple with what it means for them to come of age and mark that transition.

Director Contessa Gayles wanted the documentary to celebrate Black girlhood before it slips away. For these debutantes in training — who reflect on the pressure of paying bills, familial tensions and discovering themselves in a world where they feel judged — that transition appears to come all too soon.

“I know a lot of times Black girls in particular are adultified at a young age,” Gayles said in an interview. “It kind of doesn’t allow us the opportunity to live fully in our girlhood and then to make that transition, and then have that transition be celebrated.”

The documentary was co-produced by NBC News Studios, which, along with NBC News, is owned by Comcast.

The young women of the 2022 Stark County Debutante Cotillion were the first group in decades to take part in the rite of passage ceremony after Black women in Canton began holding cotillions in the 1970s.

Gayles used traditional documentary vérité, archival footage and video blogs that the debutantes themselves filmed to capture the girls’ experience being presented to society. These personal videos, of the girls driving to work or dancing with friends, were part of allowing them to have control over their own narrative, Gayles said.

Gayles also created scenes of the debutantes posed on sets that reflected their inner worlds and dreams — with Boles as a pageant queen waving to crowds in a parade, Robbins in a garden of butterflies, and Bradley filmed through the lens of a refracted kaleidoscope. These “dreamscape worlds,” as Gayles described them, serve as the backdrop in the film for the debutantes’ existential contemplations of what it means to be a Black girl and a Black woman.

In “The Debutantes,” Gayles said she incorporated archival footage to stage an “intergenerational dialogue between the older generation and the current generation of Gen Z girls.”

As the film opens, black-and-white archival footage rolls of young Black girls in the 1970s, curtseying before society. In the background, a clip of Toni Morrison’s 2004 commencement speech at Wellesley College announces the girls’ coming of age. “There is nothing, believe me, more satisfying, more gratifying than true adulthood,” she says. “The adulthood that is the span of life before you.” The earnest moment is punctuated by a video of the girls joyfully doing a TikTok dance.

In a community where the tradition of debutante balls skipped a generation, Gayles said the girls’ lack of familiarity with cotillion allowed them to decide what parts of the traditionally exclusionary experience served them and what parts challenged their sense of self.

The quintessential presentation of the debutante by male escorts, for example, drew the criticism of those in training. At waltz lessons, their faces twisted when the dance instructor told their male dance partners, “It’s like you’re holding a delicate flower.” During the traditional debutante dance between father and daughter, Robbins, who does not have a relationship with her father, wondered why she couldn’t share that moment with her mom instead.

Gayles captured an intergenerational conversation in which cotillion co-chair Nicole Bush candidly addresses the heavily gendered components of the debutante ball. While Bush recognized that times are changing, she said she struggled to “rethink” tradition. “That would make a better program for us, I know it would, to the community. But it’s just not within my values system; I’m old-school,” she said.

By creating this dialogue, Gayles said she wanted to start a conversation at the intersection of class, race and gender — a debutante experience that is distinct from its white counterparts and explores what it means to come of age as a Black girl.

The post PRESS ROOM: Documentary shines a light on cotillions as a way to celebrate Black girlhood appeared first on AFRO American Newspapers.

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.

The post BET Awards return June 30 with performances from Lauryn Hill, Childish Gambino, Will Smith and more appeared first on AFRO American Newspapers.

By Gabrielle Howard
AFRO Intern
ghoward@afro.com

Each year millions of people throughout the country celebrate Juneteenth. The holiday, made official in 2021, is the perfect time to uphold sacred traditions and give thanks to the ancestors who have paved the way.

In a day and age where history is being rewritten and retold it’s important now, more than ever, to uphold traditions of the Black community.

Dr. Clinton Bolton, a respected psychologist, believes upholding tradition can give way a strong sense of ancestral connection and belonging.

“Honoring tradition allows individuals to reflect on the progress made and the ongoing fight for equality, fostering a profound connection to their ancestry and boosting self-esteem,” said Bolton. “It also has the ability to heal generations from the epigenetic trauma of slavery.”

Whether it’s reading Black literature, attending a cookout or learning something new about Black history– members of the Black community have a variety of options when it comes to grounding oneself in the pride and identity that accompanies many Black traditions.

As the Black community has faced– and continues to face– generational trauma and family displacement, honoring Black triumphs in time on an annual basis can help preserve the rich heritage of African Americans and their holidays, like Juneteenth and Kwanzaa.

The calls to bring back certain Black traditions from the old days, such as eating together, supporting the work of griots who pass down stories, drum circles, attending homecomings at a hometown church, quilting or simply spending time with elders is growing louder.

Bolton said that participating in Black community rituals can go a long way in “preserving the memory of past struggles and triumphs, such as the emancipation of enslaved African Americans in 1865.”

“This is crucial for resilience and empowerment,” he added. “It highlights the endurance and strength of the Black community.”

Psychiatric nurse Robyn Manning agrees, saying in an AFRO interview that Juneteenth marries the ideas of identity and empowerment.

“Understanding where we come from is empowering,” said Manning. “Without having a sense of identity, it really is hard to stand on anything.”

The post Keeping Black tradition alive: A look at the importance of preserving African-American culture appeared first on AFRO American Newspapers.

By Aria Brent
AFRO Staff Writer
abrent@afro.com

From cookouts to parades and festivals, there are all kinds of festivities that happen every year to commemorate the special occasion of Juneteenth. And as much as the Black community loves to commune and “put a little something on the grill,” the question of how to properly honor the ancestors remains.

This week, the AFRO asked, “What did the first Juneteenth celebrations look like?”

Martha Whiting-Goddard, a historian in the Houston area with personal ties to the origins of Juneteenth, weighed in on how the ancestors celebrated their freedom and how we can pay homage to them as we continue to honor the legacy of Emancipation Day. 

“They would organize a parade downtown near where they originally came in on the banks of the bayou and then they would march over to Bagby Street,” said Whiting-Goddard. “They had parades for two days. They would dress up and they always had a band. They had a grand marshal and all these things that they’d see people have at a parade.”

“And they would have a speaker and they would always read the Emancipation Proclamation, and General Order No.3  because they wanted the people to know that these were [the documents that] made them free.”

Whiting-Goddard is the great-granddaughter of John Henry “Jack” Yates, the founding father of Juneteenth. Yates was a freedman who moved to Texas from Virginia. At the time, he was following his family– a group of his most dearly beloved, who had been relocated as his wife’s master tried to escape the Civil War. The Yates family stayed on the master’s new farm in Matagorda County, Texas until the war ended two years later. 

Yates knew that Matagorda County was an area with limited opportunity for work, so he traveled to Houston where he earned a living as a drayman, while also preaching the gospel on weekends. 

Yates would go on to become a prominent figure in the Houston area, known for the founding of the city’s first African American Baptist church: Antioch Baptist Church. Following the Civil War, and the signing of General Order No.3, many of Yates’ family members came to Houston–and they brought the tradition of celebration with them. 

The Yates family began to celebrate their freedom on Juneteenth and on New Year’s Eve, the date that many slaves, further East, sat up all night waiting for the Emancipation Proclamation to take effect on Jan. 1, 1863. 

“No matter what, once they reached the end of the year around when they signed the Emancipation Proclamation on Dec. 31 of 1862, they would always have some sort of celebration because they considered that day very important to them,” Whiting-Goddard told the AFRO. “Once they knew they had June 19,1865 as well, they would celebrate both of these events.They’d have a watch night and celebrate the Emancipation Proclamation and they had Juneteenth. They would celebrate both the Emancipation Proclamation and General Order No.3 that General Granger signed on June 19, 1865.”

The Houston historian further elaborated on what kind of festivities took place during the first years of Juneteenth’s establishment, noting that many of the traditions we partake in today were created then. 

“When they finished [the reading] they’d have some games that they could play. And they might have some dancing, but it was family fun.They’d always have barbecue and red punch.”

While the block parties and parades are fun, the only way members of the Black community can keep the legacy of Juneteenth alive and well is through education. Whiting-Goddard emphasized how important it is that we share the story of Juneteenth and all that the Black community has gone through to not only receive but maintain our freedom with our youth so they can send it on. 

“Not only can we come and celebrate Juneteenth but we need to use it as an opportunity to teach our children and future generations about what we had to go through to reach where we are today,” she said. 

The post Martha Whiting-Goddard, Houston historian, speaks on early Juneteenth celebrations of 19th century appeared first on AFRO American Newspapers.

By Megan Sayles
AFRO Business Writer
msayles@afro.com

Juneteenth, celebrated on June 19, commemorates the day that Union troops arrived in Galveston, Texas in 1865 to declare the freedom of some 250,000 enslaved African Americans in the state. Two years prior, President Abraham Lincoln issued the Emancipation Proclamation, which decreed the liberation of enslaved people in Confederate territories during the Civil War. 

According to the National Archives, on June 19, 1865, “U.S. Maj. Gen. Gordon Granger issued General Order No. 3, which informed the people of Texas that all enslaved people were now free.” 

The holiday is known by a variety of monikers, like “Jubilee Day,” “Black Independence Day” and “Freedom Day.” In 2021, President Joe Biden made Juneteenth a federal holiday. 

“One of the most important things about Juneteenth is that its rise was meteoric. The fact that it was established as a federal holiday only partly speaks to its popularity and impact,” said Anthony Cohen, historian and president of the Menare Foundation, an organization that protects the legacy of the Underground Railroad. “I think the Black Lives Matter movement and the murder of George Floyd really elevated the observance of the holiday in the American mind.” 

“The codification of it into federal law has elevated it as a holiday like we’ve seen no other— it being celebrated almost instantly nationwide,” continued Cohen. “The history is also being retold and learned by generations who have never heard of it.” 

Cohen learned about Juneteenth as a young child, before he could really grasp the significance. His mother was born in Houston, Texas, just two blocks away from Emancipation Park, which was created in 1872 to hold Juneteenth celebrations. 

He said people often mistake the holiday for the end of slavery, but that wouldn’t come until December 1865 with the passing of the 13th Amendment. 

“Lincoln’s proclamation effectively didn’t free slaves anywhere. It was more symbolic. It was aimed at people enslaved in the Confederate or rebel states, which Lincoln did not have control over,” said Cohen. “But, it sent a very clear message that the Union was fighting for the end of slavery where it existed.” 

Maryland was a border state during the Civil War. Although it was a slave state, Maryland did not secede from the Union and was not subject to the Emancipation Proclamation. However, according to David Armenti, vice president of education and engagement at the Maryland Center for History and Culture, the decree made way for Black men to gain freedom by enlisting in the Union Army. 

“Soon after the proclamation, we start to see that men are being enrolled in the United States Colored Troops,” said Armenti. “In Maryland, we see a lot of individuals either self-emancipating by going to places like Baltimore or Washington D.C. where there is a federal government presence or we see individuals being freed, manumitted and enlisted.” 

In November 1864, the state of Maryland enacted a new constitution, which officially outlawed slavery months before the 13th Amendment was ratified in December 1865. 

“This happened while the war was still going on. Black men who were soldiers at the time were able to turn the tide on that vote. It wasn’t a foregone conclusion that the constitution was going to pass,” said Armenti. “It was a very close vote.” 

Although Juneteenth marks a significant turning point in American history, its acknowledgement has been limited in years past— especially outside of Black communities. Cohen attributed this to a dearth of education about the holiday’s history.

“So little of the African-American angle on American history has been taught in our schools. As time’s gone on, it’s clearly been taught more and more, unless you live in a state where there’s a broad assault on both Black history and Black people in general,” said Cohen. “However, I do think Juneteenth has been able to leapfrog from its almost unknown status to being a premier holiday.” 

Cohen said Juneteenth is a time for gathering with community, friends and family. He said people celebrate the holiday with reflection, singing Black spirituals, historical reenactments and food. His organization will host a Juneteenth 6K and 12K race to commemorate the holiday this year in Germantown, Md. 

The Juneteenth flag is also flown. It features the red, white and blue of the American flag, an arc that represents new horizons, the five-point star of Texas and a bigger star that symbolizes the proliferation of freedom, according to the General Services Administration. 

“Juneteenth is an opportunity for communities to be reminded of that long road out of slavery and to envision who they want to be as Americans,” said Cohen. “Celebrating it is a revolutionary act and a message to all the powers that be that we are destined to be one nation. It’s okay to celebrate that as we fight for it at the same time.” 

The post The historical roots of Juneteenth and its legacy today appeared first on AFRO American Newspapers.

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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Joyce J. Scott: Walk a Mile in My Dreams features nearly 140 works from the 1970s to the present—including sculpture, jewelry, textiles, artwear garments, performance compilations, prints, mixed-media installations, and a new large-scale commission. The astonishing virtuosity and ingenuity of Scott’s work in every medium seamlessly coalesces with her lifelong vision to confront racism, sexism, classism, and “all the ‘isms’ society offers” through impish and audacious humor, expressions of beauty, and a humanistic engagement with global events. Her innate ability to move across medium and genre, leveraging her materials to speak fearlessly to subjects of deep personal and communal meaning make her one of the most significant artists of our time and deserving of greater scholarly study and public recognition.

“Joyce J. Scott is a living legend and a pillar of Baltimore’s artistic community. Her multidisciplinary practice is in a word, magnetic, distinguished in its ability to conjure moments of beauty and awe, while also bringing people into conversation about challenging subjects in a way that is open and embracing. Her work is deeply rooted in both local and global contexts, vibrating with a resonance that is utterly and uniquely Joyce,” said Asma Naeem, the BMA’s Dorothy Wagner Wallis Director. “The BMA has had the honor of engaging audiences with Scott’s work for many years through exhibitions, public programs, and acquisitions. We are thrilled now to present this comprehensive exhibition that highlights the remarkable range of her career.”

Scott has embraced her identity as an artist and performer since childhood. At home in Baltimore, her mother, the artist Elizabeth Talford Scott (1916–2011) taught her to sew and express herself creatively. Scott considers this knowledge her inheritance: both the specific techniques and aesthetic traditions carried by enslaved people from Africa to the Americas and the awareness of her own life’s potential as part of a continuum.

In the 1970s, Scott began what would become a lifelong commitment to artistic learning and engagement with global cultures. Her extensive travels have taken her to many countries, including Mexico, Cuba, Peru, Mali, Senegal, Scotland, South Africa, Thailand, and Italy, where she connected with local artisans and community members through a shared embrace of textiles, beads, and glass. As a result, Scott’s work has responded to global events—from the AIDS crisis to South African Apartheid and to American police brutality—and served to memorialize personal and collective transformations and traumas.

Tickets $15 for adults, $13 for seniors, $12 for groups of 7 or more, $5 for students with ID, and $5 for youth ages 7-18. BMA Members, children ages 6 and under, and student groups are admitted free.

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent

(NNPA Newswire) — Four years after a racist encounter with a so-called “Karen,” Christian Cooper has earned the ultimate payback: a Daytime Emmy Award for his passionate love of birdwatching. The racially charged incident, which took place in 2020, not only spotlighted systemic racial issues but also paved the way for Cooper’s extraordinary success.

It was a sunny day when Cooper, an avid birdwatcher, found himself in the Ramble, a secluded area of Central Park known for its rich bird population. As he enjoyed the tranquility of the natural habitat, he noticed a dog running off-leash, violating park rules designed to protect his beloved birds. Concerned, Cooper approached the dog’s owner, Amy Cooper (no relation), requesting that she leash her dog.

What followed was a disturbing display of racial bias. Amy threatened to call the police and make a false claim that “an African-American man” was threatening her life. Christian captured the incident on video, which quickly went viral and brought attention to the racial tensions that ignited during the time of George Floyd’s murder in Minnesota.

“I knew something like this could happen to me, as a birder who is Black,” said Christian Cooper, a Harvard alumnus and accomplished writer and editor.

In a twist of fate, the viral incident caught the attention of National Geographic, leading to the creation of his show, “Extraordinary Birder,” which premiered in 2023. The show has since garnered critical acclaim, culminating in Cooper winning the Daytime Emmy Award this week for Outstanding Daytime Personality.

“No matter what anybody says or does, we are not going back,” Cooper said during his Emmy Award acceptance speech. “We will only move forward together.”

Cooper’s run-in with Amy, who has since been dubbed “Central Park Karen,” exemplifies the challenges he faced. The altercation not only led to Amy losing her job but also highlighted the dangerous misuse of racial stereotypes and the potentially life-threatening consequences for Black individuals.

Beyond his television success, Cooper has also made his mark as an author. He penned the memoir “Better Living Through Birding: Notes from a Black Man in the Natural World,” which delves into his life experiences and passion for birdwatching. Additionally, he drew inspiration from the Central Park incident for his graphic novel “It’s A Bird,” featured in DC Comics’ digital series “Represent!”

Cooper said he aims to address the structural barriers that prevent Black and Brown communities from engaging with nature. 

“Black and brown people go to the national parks far less than our proportion in the population,” Cooper said during a 2023 interview.

“I think there’s a lot of structural reasons for that,” he added. “I think some of them are in terms of legacy problems that affect our communities and built-in barriers. For example, if you are working two or three jobs to keep a roof over your head, you’re not necessarily going to have the money to be able to send your kids to a summer camp where they can develop an appreciation for nature.

“They’re not going to have that connection to nature to want to go out to the great outdoors. So, we’ve got a lot of things to overcome, and that’s one of the things I’m hoping the show will do—get a lot of Black and Brown kids thinking, ‘Oh, he’s looking at birds. He’s outdoors. Maybe I can do that.’ Because it’s so much easier to picture yourself doing it if you can see somebody who looks like you already doing it.”

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By Mark Kennedy
AP Entertainment Writer

NEW YORK (AP) — The 28 Broadway shows that earned at least one Tony Award nomination are hoping June 16 is the day the sealed envelopes break in their favor.

The three-hour main telecast from New York City’s Lincoln Center will air on CBS and stream on Paramount+ starting at 8 p.m. Eastern, with a free pre-show on Pluto TV at 6:30 p.m.

‘A time of transformation’

The awards cap a Broadway theater season that had something for everyone — fun musicals like “Back to the Future,” sweeping romance in “The Notebook,” political rallying cries like “Suffs” and intimate ensembles like “Mother Play” and “Appropriate.” Filipinos took center stage in “Here Lies Love” and autism was explored in “How to Dance in Ohio.”

“I think it has been a year of real flexibility. I also think Broadway is in a time of transformation,” said Tonys host Ariana DeBose. “A total of 36 productions opened on Broadway this season alone and each one spoke to a very different audience. I do believe that we are learning, ‘If you build it, they will come.’ So we are continuing to find our voice and who Broadway wants to be.”

DeBose has said she expects the show to move “like a Broadway show” — in other words, briskly and with scene changes in front the audience. “We want to give you a full Broadway experience,” she said.

Nicole Scherzinger will anchor the “In Memoriam” section and the late Chita Rivera will get a separate tribute from Audra McDonald, Brian Stokes Mitchell and Bebe Neuwirth.

Some key awards to watch

Two shows share the most nominations with 13: a piano prodigy’s coming-of-age in “Hell’s Kitchen” and the back-and-forth struggles to create a rock album in the play “Stereophonic.” They are competing in different categories, best new musical and best new play.

Of the 26 competitive categories, two are virtual locks: “Stereophonic,” a critical and box office triumph, and “Merrily We Roll Along,” the Stephen Sondheim-George Furth musical that flopped when it premiered on Broadway in 1981 but is the strong favorite for best musical revival.

A case could also be made that “Appropriate,” Branden Jacobs-Jenkins’ play about a family reunion in Arkansas where everyone has competing motivations and grievances, will comfortably earn the best play revival award.

Looking to beat “Hell’s Kitchen” for the top new musical crown are “The Outsiders,” an adaptation of the beloved S. E. Hinton novel and Francis Ford Coppola film; “Illinoise,” the dance-heavy, dialogue-less stage adaptation of Sufjan Stevens’ 2005 album “Illinois”; “Suffs,” based on the American suffragists of the early 20th century; and “Water for Elephants,” which combines Sara Gruen’s 2006 bestseller with circus elements.

Hoping to knock down “Stereophonic” are “Mother Play,” Paula Vogel’s look at a mother and her kids spanning 1964 to the 21st century; “Mary Jane,” Amy Herzog’s humanistic portrait of a divorced mother of a young boy with severe health issues; “Prayer for the French Republic,” Joshua Harmon’s sprawling family comedy-drama that deals with Zionism, religious fervency and antisemitism; and “Jaja’s African Hair Braiding,” Jocelyn Bioh’s comedy about the lives of West African women working at a salon.

The leading actress in a musical race is between veteran Kelli O’Hara in “Days of Wine and Roses” and “Hell’s Kitchen” newcomer Maleah Joi Moon. On the play side, Sarah Paulson from “Appropriate” is expected to win the best lead actress trophy over a challenge by Jessica Lange in “Mother Play.”

On the men’s side, former “Hamilton” standout Leslie Odom Jr. from “Purlie Victorious” is up against “Succession” star Jeremy Strong in the revival of “An Enemy of the People,” while Jonathan Groff is the favorite to win on the musical side for “Merrily We Roll Along,” competing against Eddie Redmayne in “Cabaret at the Kit Kat Club” and Brian d’Arcy James from “Days of Wine and Roses.”

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By Aria Brent
AFRO Staff Writer 
abrent@afro.com

Thousands of people from around the country gathered June 1-2  at The Mann in Fairmount Park in Philadelphia for the 15th annual Roots Picnic. 

Since 2008, legendary hip-hop group The Roots has been putting on the music festival and highlighting both emerging and well-established artists from all realms of Black music. Throughout the years the festival has grown in size, event duration and the entertainment. This year’s two-day event had a lineup that was packed with artists, podcasts and entertainment acts that left concert-goers ready for more.  

Artists such as Lil Wayne, Babyface, Amerie, Wale, Method Man, Redman, Robert Glasper and Jill Scott took the stage and put on performances that wowed the crowd and upheld the soulful feeling the Roots Picnic has been known to have throughout the years. The AFRO caught up with concert attendees and found out what brought them to this year’s event. 

“Going to the Roots Picnic, it’s an annual thing that we’ve been doing and we came out to see the headliners and all the other artists. We came because we love Black culture, we wanted to feel the vibes and just hang out with some friends,” said Taeler Wright of Charlotte, N.C., “It feels like a big family reunion and the artists they put on every year are top tier.”

The familial feel Wright referred to was welcomed and fostered with nostalgic activities like line dancing, roller skating and a double dutch contest. Many guests opted for bringing blankets to sit on as they watched performances, another dynamic that added to the hospitality of the event. 

“This is my first time going and so far I love it. I love seeing all these different representations of Black culture–we’re so beautiful,” exclaimed Justin Brent of Columbus, Ohio. “All these people are just sitting down enjoying themselves, and watching the performances. It warms my heart to see us, as Black people come together and nothing bad happens.”

The event was bursting at the seams with Black culture. With artists from all genres of music, including rap, jazz, gospel and go-go, there was something for everyone to enjoy.

Additionally, both days of the event were full of colorful outfits and carefully crafted hairstyles that displayed the diversity of Black fashion. From bantu knots to braids and locs to afros, the venue and city was full of Black beauty, so much that even performers commented on it. 

“You know what’s awesome about Philly? Philly has some real Black women,” said André 3000 during his performance. “They’re real dark and you don’t get to see that too much. I’m talking about like super dark—and we love that.”  

In recent years, the festival has begun to feature a stage that includes podcasts and interactive cultural experiences like U+Me+R&B and They Have The Range. With a variety of entertainment options and a range of musical performances, the festival made it so that guests always had something to participate in.  

Both nights of the festival were closed out by hometown heroes. The first night was finished by neo soul  legend Jill Scott, and on the second night The Roots took the stage along with Trombone Shorty, Lil Wayne, Lloyd and PJ Morton to give a dedication to the city of New Orleans. 

This year’s Roots Picnic was full of fun, family and phenomenal music, truly making for the perfect way to kick off the summer and Black Music Month. 

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By Amber D. Dodd
Special to the AFRO
adodd@afro.com 

From June 21-22 and July 20, Home Rule Records will host their second annual Home Rule Festival to highlight the history and future of gogo and jazz in Washington, D.C., at the Parks at Walter Reed. 

The festival’s two-day opener will include an opening night ceremony at The Black Cat with Doug Carn and Vanessa Rubin on June 21. Friday night’s event is $40. The remainder of the festival is free.

Along with The New Doug Carn Sextet, Gary Bartz and Idris Ackamoor and The Pyramids will serve as the headliners of the festival during their Saturday performances.

“I want to honor some jazz legends. I truly believe in giving respect and homage to folks while they’re alive. To get the opportunity to present them, listen to them, I’m just in awe,” said Charvis Campbell, founder of the Home Rule Festival and owner of Home Rule Records. 

“The other piece is to really pay respect to D.C., to make sure we give honor and respect to the wonderful music that has come out of D.C., so that’s where the gogo comes in. Then there’s some younger cats who I think are just as deserving of the opportunity on the stage and doing great work. I’m excited to present this group.” 

Campbell’s love for jazz began as a 16-year-old at Howard University, when he got to witness the state of jazz in a “post-Coltrane era.”  Since then, his passions for jazz and Black music led him to opening Home Rule records on Kennedy Street in Northwest D.C. 

“We’re about supporting local artists and giving them a chance to flourish and shine,” he said. 

The goal of the Home Rule Festival is to create what Campbell calls a “casual education of the legends of the craft.” Campbell curates the festival to showcase the “unstoppable power of music and film,” and how those media preserve the history of Black music. 

“Part of what we’re doing, intentionally, is to capture everything,” Campbell said. “Every chance we get, we’re going to be filming.” 

Campbell, a New York native, says that the festival’s lineup is a homage to D.C.’s music scene as gogo bands are set to perform during the two-day event. The Home Rule Festival is a great opportunity to introduce new chapters in gogo and jazz, too. 

Elijah Balbed, the leader of JoGo, got his first chops with Chuck Brown before he passed, Campbell shared. JoGo will be performing during the Black Cat opening show on Friday. 

Campbell stressed the importance of jazz being a “root genre” for all Black American music genres. 

“Jazz is alive and stronger than ever,” he said.

“Whether you listen to Cuban or Afro beats, hip-hop, it all comes back to the same ,” Campbell said. “It’s stronger than ever…so when I listen to these younger guys, I’m even more thrilled.”

Younger acts such as The Dupont Brass and the Soul of Seed, a high school band from the Seed Public Charter School in Southeast D.C., will grace the festival stage.

“DuPont Brass are relatively younger, but you know, they’re burning up the scene, they’re combining jazz with that funk vibe,” Campbell said. “Seed High School has a strong music program and their commitment to the kids…you can feel it walking into that building. They’re playing some great music and I can’t wait to give them this stage.”

Home Rule is a namesake commitment to amplifying the local talent throughout D.C. Keeping the Home Rule Festival’s main public events on June 22 and July 20 free became a focal point for Campbell. He wanted to ensure all of the city’s residents were granted an equitable opportunity to experience the local jazz scene. 

“You don’t have to spend a lot of money to come and appreciate great music, you’re getting connected to community organizations, and it’s family-friend so the kids can be jumping and playing, trying to get on the stage — as much as I don’t want them to,” Campbell said.

In light of Home Rule Records’ local partnerships with the District’s art communities, the festival will feature the Rock Creek Conservancy as a vendor during Saturday’s festivities. This is the second year that Braha and the Rock Creek Conservancy will partner with Campbell and the festival.  Jeanne Braha, executive director of the conversancy, said that since music is one of the great connectors of our world, outdoor festivals show the importance of having spaces to gather. 

“Live music or live performance is unique because it happens once, and it creates this shared experience that does knit the social fabric of our community,” she said. 

Braha says the conservancy will focus on promoting the Carter Barron Alliance, an organization committed to renovating the Carter Barron Amphitheatre. The amphitheater, which closed in 2017 due to the stage’s eroding structure, had been a popular green space to host festivals. 

“Parks Services is trying to consider all the ways to be really appropriate for 21st century audiences and performers,” Braha said. 

The Home Rule Festival grounds are located close to the 4,000-seat outdoor theater. “It includes performing artists, art leaders, preservationists, park supporters and historians,” Braha said. “We’re working to make sure that, as the park sorts out the future of the Carter Barron, everyone who wishes for it is kept in mind.”

In its second year, Campbell hopes that the festival will continue to grow and become a prominent way to celebrate Black Music Month in the nation’s capital. Community focused, the Home Rule Festival can be an accessible way to host world-class jazz acts in a supportive atmosphere, he said. 

“We’ll clearly have some jazz legends, we have some D.C. greats, a few upstarts that are going to continue the show,” Campbell said. “I’m really excited.” 

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By Ericka Alsto Buck 
Special to the AFRO 

June marks the celebration of Black Music Month, a time dedicated to recognizing and honoring the contributions of Black musicians and the profound impact of Black music on culture and society. Established in 1979 by President Jimmy Carter, Black Music Month highlights the rich legacy and ongoing influence of Black music genres, including jazz, blues, soul, hip-hop and more.

Baltimore’s celebration of Black Music Month began with a bang with two spectacular events: “Wine on the Water: Caribbean and Neo Soul Edition” and the return of Jazzy Summer Nights.

“Wine on the Water,” organized by local promoter Stevie Love, was held at the waterfront on Waterview Avenue in south Baltimore on June 2.  The event brought together music lovers from across the region to enjoy an evening of soulful performances by the water. Regional musician April Sampe was one of the headliners of  the day with her powerful renditions of neo-soul classics, captivating a sea of attendees who had gathered to soak in the soulful sounds. Her performance set the tone for an afternoon of musical excellence.

The highlight of the event was undoubtedly the performance by Davon McCoy, better known as “Davon the Drummer.” Born in Baltimore and hailing from a long line of musicians, McCoy began playing drums at a very young age. His impressive career includes collaborations with artists like Lalah Hathaway; Monifah; Basement Boys; Ultra Naté; Petey Pablo and many others.

“I created music and started playing drums with DJs in 1994. Playing all over the world, you can catch me at large festivals, upscale parties and events like Jazzy Summer Night, spreading love through music. It is my gift and passion,” McCoy shared. His performance at “Wine on the Water” was nothing short of spectacular, showcasing his ability to merge genres and satisfy the musical cravings of every attendee. 

The celebration of Black Music Month continued with the launch of Jazzy Summer Nights on June 6 at the Baltimore Peninsula. Celebrating its 24th year, this summer series has become the music destination for Baltimore, D.C. and regional residents. LaRian Finney, founder and managing Partner of The Finn Group, expressed his excitement. 

“We are celebrating year 24 of the series, every first Thursday this summer – it’s the music destination for Baltimore and D.C.,” said Finney. “Jazzy is a great, safe environment to enjoy an evening of music, food, and culture at the Peninsula!”

Headlining the inaugural night was trombone superstar Jeffrey Bradshaw, who wowed the audience with performances of his popular songs like “Prototype” and “All Time Love.” 

Bradshaw emphasized the importance of independent artists performing at venues like Jazzy Summer Nights.

“Being an independent Black soul and jazz artist for 21 years, I’ve definitely seen the peaks and valleys that come with this great gift,” said Bradshaw. 

The musician explained the plight of Black artists in America and how he’s seen national tours for some of the greatest artists “stifled because of obvious racism.” 

“Artists were sometimes coming to perform in the very cities where they received hatred,” he said. “But the tenacity and work that was done by our civil rights heroes, along with the power of love through music, has afforded us opportunities to be able to perform in every major city in America and abroad.” 

“That’s why concert series and festivals like Jazzy Summer Nights are not just concerts, but celebrations of our culture and music that has given the world blues, jazz, rock and roll, funk, soul, hip hop, disco, house, gospel and many others,” said Bradshaw. “Black Music Month is an honor to celebrate, but it’s a microcosm compared to how Black music has shaped the world.”

Joining Bradshaw on stage was his friend, the soulful artist Eric Roberson, who enchanted the crowd with his hits “Picture Perfect” and “Lessons.” 

Roberson shared his thoughts on the significance of events like Jazzy Summer Nights. 

“You have supporters and new people who don’t know you as well. So people are going to learn your art and Black music at the end of the day,” said Roberson. “For me to be able to sing a song in front of thousands of people– where a good portion will know it and a good portion won’t know it– this is what it’s all about.”

The summer lineup for Jazzy Summer Nights will feature performances by:

Thursday, July 4 | Bilal

Thursday, August 1 | The Bela Dona Band

Thursday, September 5 | Goapele

Thursday, October 3 | The LFTOVRZ ft. Gary Groove

In addition to these events, other notable Black Music Month performances in the region include:

Friday, June 14, 2024 – Eric Benét live at Birchmere, Alexandria, Va.

Friday, June 14, 2024 – Maze featuring Frankie Beverly live at Capital One Arena, Washington, D.C.

Thursday, June 20, 2024 – The Soul Rebels with special guests Ghostface Killah and GZA, The Howard Theatre

Sunday, June 23, 2024 – Jhené Aiko live at Capital One Arena, Washington, D.C.

Tuesday, June 25, 2024 – T-Pain live at Pier Six Pavilion, Baltimore.

Friday, June 28, 2024 – The O’Jays live at The Theater at MGM National Harbor, National Harbor, Md.

Sunday, June 30, 2024 – Chris Brown live at CFG Bank Arena, Baltimore.

With an incredible lineup and a strong sense of community, the D.C., Maryland and Virginia (DMV) area’s celebration of Black Music Month is set to be an unforgettable experience, honoring the past, present and future of Black music and its profound impact on the world.

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Ericka Alston Buck 
Special to the AFRO

Mark your calendars for an electrifying night of music at The Howard Theater on June 20th, as The Soul Rebels bring their unique blend of jazz, funk and hip hop to the stage. The group will be accompanied by the legendary Ghostface Killah and GZA, of the Wu-Tang Clan.

Known for their genre-defying sound, The Soul Rebels have been making waves in the music world for years, seamlessly blending the rich musical traditions of New Orleans with contemporary influences. Marcus Hubbard, the band’s trumpet player, vocalist and producer, shared some insights into the band’s journey and what fans can expect from this highly anticipated performance.

“I started playing the trumpet in fifth grade,” Hubbard reminisced. “Growing up in New Orleans, music was all around me. It was a natural gravitation. I continued through middle school, high school, and then at Southern University in Baton Rouge, where I met Winston Turner. He told me about an opening in The Soul Rebels, and the rest is history. I’ve been with the band ever since.”

The Soul Rebels are renowned for their innovative approach to music, creating a sound that Hubbard describes as a “mixture of gumbo.” Their willingness to experiment and push boundaries has set them apart, making their live performances a must-see. 

“We’re always open to trying new things,” Hubbard explained. “Whether it’s a reggae tune or a hip hop tune, we’re all about pushing the envelope and doing music in a different way.”

This adventurous spirit has led them to collaborate with a diverse range of artists, but their upcoming performance with Ghostface Killah and GZA is particularly special. “We love DC, especially because of the go-go music scene, which is similar to our New Orleans brass band style,” said Hubbard. “Bringing legends like GZA and Ghostface to DC with us ensures a fun environment. We aim to give fans a unique experience, something they’ve never seen before and might not see again unless they come to a Soul Rebels show.”

The June 20 concert promises to be an unforgettable night, merging the powerful brass sounds of The Soul Rebels with the iconic lyricism of Ghostface Killah and GZA. The synergy between these artists is sure to create a dynamic and high-energy performance that will leave the audience buzzing.

As part of their 11-city tour, The Soul Rebels are not only collaborating with Ghostface Killah and GZA, but also featuring other notable artists. Fans across the country can look forward to performances with artists like Big Freedia, Robert Glasper and Talib Kweli. Each city on the tour is set to experience a unique blend of musical talents, making every show a one-of-a-kind event.

“We try to connect with the youth, as they are the future,” Hubbard emphasized. “We want to show them different opportunities and paths to success through music. Many of us in the band have used music to get scholarships and further our education. We want to make it fun and show that there are many ways to achieve success.”

With this ethos in mind, The Soul Rebels’ music has become a beacon of hope and resilience, reminding audiences of the unifying power of music. Their upcoming show at The Howard Theater is more than just a concert—it’s a celebration of creativity, collaboration and community.

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By Ashlee Banks
Special to the AFRO

The Biden-Harris administration held the second annual Juneteenth concert on the South Lawn of the White House on June 10.

The event started at 7:30 pm and was hosted by comedian Roy Wood Jr., who cracked jokes throughout the night while also emphasizing the importance of celebrating Juneteenth.

The holiday commemorates June 19, 1865, the day that enslaved people in Galveston, Texas found out that they were free through the Emancipation Proclamation signed by President Abraham Lincoln on Jan. 1, 1863. 

President Joe Biden gave a speech during the concert and stated that the June 10 celebration was a “fitting tribute” for the holiday. The president also took a moment to discuss recent attacks launched against diversity and equity programs across the nation. 

“Old ghosts in new garments trying to take us back– taking away your freedoms, making it harder for Black people to vote or have your vote counted,” he added. “Our history is not just about the past, it’s about our present and our future…for all of us.” 

In attendance were Congressional members Jasmine Crockett (D-Texas-30), Ayanna Pressley, (D-Mass-7), Cori Bush (D-Mo-1) Maxine Waters, (D-Calif-43) and Steven Horsford, (D-Nev-4), attorney Ben Crump, MSNBC host Symone Sanders-Townsend and rapper Joey Bada$$. 

“It’s an honor to be invited–especially looking at what this nation faces at this point. Specifically, with what I’d consider essentially a race war,” said Ameshia Cross, a Democratic strategist. “We’re seeing measures to erase curriculum that is reflective of what actually happened in American history.”

Pressley stated she attended the Juneteenth concert to pay tribute to Opal Lee, the advocate who pushed for the holiday to become nationally recognized. 

“She made this possible and many fought to make this holiday real,” said Pressley. “There are a lot of people who bled, who prayed, who paved the way…for me to be involved everyday in the work of Black liberation.”

Over a two-hour period, guests experienced performances from Patti LaBelle, Anthony Hamilton, Kirk Franklin, Raheem DeVaughn, Charlie Wilson, Doug E. Fresh, Gladys Knight and many other talented artists.

LaBelle sang her hit song “Love, Need and Want You,” Hamilton sang his classic “Charlene” and Kirk Franklin gave the audience a show while dancing to his song “Love Theory.” 

“This was a celebration of achievements against a backdrop of people who are trying to erase it and make it harder for Black people to have access points,” said Cross. “President is going against all odds to ensure there’s equity and strength for the Black community.”

In 2021, Biden signed a law that made Juneteenth a federal holiday. This year Juneteenth will be recognized on Wednesday, June 19.

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By Madeline Seck
AFRO Intern
mseck@afro.com

The Capital Jazz Fest returned to Merriweather Post Pavilion in Columbia, Md., entertaining attendees from around the region from June 7 to 9. 

The 2024 Capital Jazz Fest captured the essence of Black music, art and culture, and brought out thousands from around the D.C., Maryland and Virginia (DMV) area and beyond. The festival featured diverse groups of artists whose genres range from jazz and funk to R&B and soul. Headliners, such as Andra Day, Babyface and Leela James also took the stage. 

Attendees were able to enjoy the  music with family, friends, good food and a festival marketplace filled with Black-owned businesses. Vendors sold art pieces, clothing, bags, accessories and more.

The festival kicked off the night of June 7 with an evening of soul, with podcast producer Laiya St. Clair serving as host. Separated by two genres of jazz and soul, attendees chose between two stages on June 8 and 9 from 12 p.m. to 10 p.m. The Symphony Woods Stage, hosted by radio show host Cayman Kelly, held soul performances. The Pavilion Stage was hosted by, Marcellus “The Bassman” Shepard. 

Capital Jazz Festival takes place during the first weekend of June with a goal of celebrating Black Music Month. Founded by former President Jimmy Carter in 1979, Black Music Month was created to express and recognize African-American music.

The event was first hosted at the Bull Run Regional Park in Centreville, Va. in 1993. The venue has been at Merriweather Post Pavilion since 2004.

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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
ealstonbuck@afro.com

The 2024 Associated Black Charities (ABC) Annual Gala, held on Saturday, June 8, at the Maryland Live! Casino Hotel was an unforgettable evening of celebration, recognition and unity. This year’s theme, “Let’s Stay Together,” honored organizations dedicated to serving the Black community.

The gala kicked off with an exclusive VIP reception from 5:30 pm to 7 p.m., where guests enjoyed hors d’oeuvres and champagne served from a living table—a model adorned with a skirt full of glasses of champagne. Pianist Chester Burke provided an elegant musical backdrop for the reception. General admission guests joined the festivities at 6 p.m. for a lively cocktail hour.

At 7 p.m., attendees were ushered into a lavish ballroom, greeted by the soulful sounds of musical artist Ashley Keiko. The atmosphere was electric, with WBAL TV News Anchor Jason Newton capturing red carpet reactions from guests. Interactive stations throughout the venue included elegant photo opportunities and a photo 360 station, ensuring everyone had a chance to capture the magic of the night.

The awards ceremony, emceed by the flawless and fabulous Radio One personality Pershia Nicole, began with a heartfelt acknowledgment of the honored organizations. ACLU of Maryland; NAACP Baltimore; Leaders of a Beautiful Struggle; Greater Baltimore Urban League and CLLCTIVLY were all recognized for their vital role in advancing racial equity and fostering sustainable change within the community.

“By honoring these organizations, ABC validates their efforts, amplifies community voices, mobilizes support, builds trust and fosters sustainable change,” said ABC CEO Chrissy M.Thorton. “The importance of racial equity organizations working together cannot be overstated.”

NAACP Baltimore President, Kobi Little, shared his thoughts on the night. 

“This recognition fuels our resolve to continue fighting for justice and equality,” he said. “Collaboration among our organizations amplifies our collective impact, leading to greater and faster progress.”

As the awards concluded, guests were treated to an electrifying performance by the musical phenomenon Maysa. The legendary entertainer inspired everyone to their feet, singing and dancing to timeless hits from the ’80s and ’90s. The energy remained high as DJ Tanz took over, transforming the ballroom into a vibrant dance party.

The evening didn’t end there. VIP guests had the opportunity to attend the Midnight Mixer with vocalist Bryan Jeffrey, who provided an intimate and soulful conclusion to the festivities.

The 2024 ABC Annual Gala was not only a night of celebration, but also a testament to the power of unity and collaboration in driving meaningful change. As ABC continues to honor and support these vital organizations, the impact on the community will undoubtedly grow stronger and more profound.

“Tonight was a phenomenal blend of fundraising, philanthropy, and fun,” said Thorton. “We look forward to continuing this journey together, creating a brighter future for all.”

The 2024 ABC Annual Gala was indeed a night to remember, leaving a lasting impression on all who attended and reinforcing the importance of staying together in the pursuit of justice and equity.

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By Megan Sayles
AFRO Business Writer
msayles@afro.com

The Baltimore Office of Promotion and the Arts (BOPA) tapped Rachel D. Graham to become its next permanent CEO in February. The move came after a challenging year for the quasi-governmental agency.

Prior to BOPA, Graham served as the external relations director for the Reginald F. Lewis Museum of Maryland African American History and Culture. In her new role, she hopes to reorient the organization as a trusted advocate for the Baltimore arts community. 

“If you build a robust arts community, that in turn can play a huge role in the city taking its rightful place as an arts and culture mecca,” said Graham. “People have a tendency to forget how much this city has given in the way of arts and culture. Working with our partners in the city, I look forward to us being able to play a role in pushing the city forward and telling the story of Baltimore.” 

BOPA is the official event producer for the city of Baltimore, organizing large-scale events like Artscape and the Baltimore Book Festival. Its contract with the city is set to expire on June 30, and there has yet to be word on whether it will be renewed. 

The AFRO recently connected with Graham to discuss the trajectory of the agency going forward. The responses below have been edited for length and clarity. 

Q: As you grow into your new position, what are your top goals for BOPA? 

A: The short-term goal is meeting the expectations of the city around our contracts and obligations. Over the past year, BOPA has done a lot of work to regain the trust of the city and to demonstrate that we are a stable organization that takes its work seriously. When I first came in, one of the conversations I had with the team was understanding that our first responsibility is to the taxpaying residents of Baltimore because they are who pay our bills. We are charged with promoting arts and culture and supporting artists in the city of Baltimore. Instilling that understanding at a deep level will help us shape what the long-term looks like. 

We’re also really focused on making the bones of the organization sturdy around bylaws, governance and fiscal responsibility. Our interim board will be doing a lot of work over the next year to determine the path forward for the organization. As they set marching orders, I will be working with my team to execute them. 

The budget for the organization has decreased over the years so we’re identifying ways to expand the pie not just from governmental sources but by proving ourselves worthy of private and nonprofit contributions. That way we can do more work to meet the needs of the community. 

Q: Baltimore maintains a vibrant community of Black creators and artists, what is your role in ensuring they can access opportunities and support from BOPA? 

A: Much of my career has been steeped in conversations about equity even before it became a part of people’s lexicon. I’ve gone through a number of training sessions centered on undoing racism. I understand racism and bigotry are not the same thing. 

BOPA is an organization that considers diversity, equity and inclusion as a key driver. My job is to keep the organization true to that. That means examining how we intentionally encourage the community to be a part of our application processes for prizes that go out. It means making sure we’re communicating information about funding opportunities to the broadest audience as humanly possible. 

We also do public artwork and mural projects, which have guidelines as it relates to the spending of federal dollars, but that’s the bare minimum. We want to take it a step further and incorporate  community voice throughout the entirety of the process such that we’re walking alongside residents as we support arts and culture in the city. 

Q:What impact do you want to have on Baltimore’s arts community and the city as a whole?

A: Ultimately, it’s not about the impact I want to have on them but the impact I want them to understand they can have on our organization. We want to hear what their interests are and implement or provide support to them to bring about sustained change for the city. We want to help make this city a place that will attract people from all over the world to enjoy. 

It’s also important for me to broaden the understanding of the opportunities that exist in Baltimore’s arts and culture landscape. I want us to be a connector, promoter, celebrator and solutions finder. 

When people ask what my vision is for the organization, I struggle to answer because, for me, it’s not my place to say. Instead, I need to sit back, listen to the community and shape their vision into something actionable.

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By Black PR Wire

(Black PR Wire) Atlanta, GA — Omega Psi Phi Fraternity, Incorporated is proud to announce that it will host its 84th Conclave in Tampa, Florida, from June 27 to July 2. This highly anticipated event will bring together thousands of fraternity members, dignitaries, celebrities, and community leaders for a time of fellowship, development, and community service with a focus on activism, philanthropic efforts, youth mentoring, recognizing the fine arts, health and wellness, and celebrating decades of social action. 

The conclave serves as Omega Psi Phi’s biennial convention, designed to address fraternity business, and plan the future direction of the organization. For this year’s conclave, due to the unique social and political times we are in, the primary purpose of the gathering has been expanded, and the 84th Grand Conclave has been labelled as a “Conclave with a Purpose.” 

Our goal in Tampa is to reassert our leadership as Omega men by providing a forum where ideas, activities, and tools to shape a more equitable future on both the local and national levels can be discussed, leveraged, and amplified. The event will offer a plethora of activities including, but not limited to: 

• Community Forum: To educate and empower the community by increasing understanding of how legal/legislative changes, both proposed and implemented, impact their lives.
• Voter Registration Education and Mobilization: A state-wide voter registration initiative has been implemented focused on individuals who have been historically underrepresented.
• Book Drive: Collect and distribute books focused on African American history and culture through small libraries set up in several urban communities and through relationships with local organizations, schools, and businesses.
• Silent March and Rally: A visible and symbolic effort intended to demonstrate disapproval of policies implemented that limit civic engagement, negatively impact equity, and alter the accuracy of the historical record.

Our intention in Tampa is to be visible, vocal, and deliberate in communicating and demonstrating our position as community leaders and offer strategies to make a change. 

About Omega Psi Phi Fraternity, Inc.: 

Omega Psi Phi was founded over 113 years ago at Howard University in Washington, D.C., by three undergraduate students and their faculty advisor. They sought to address the racial hostilities of the day and find ways to uplift the Black community.       

Today, the Fraternity’s membership stands upward of over 200,000 in more than 700 undergraduate and graduate chapters throughout the United States, Canada, Asia, Europe, Africa, the Dominican Republic, Mexico, and the Caribbean. It was the first black-male Greek-letter organization founded on the campus of a historically Black university. If you would like more information about the Omega Psi Phi Fraternity, we encourage you to visit, www.oppf.org.

For more information about the 84th Conclave please visit our website or contact:

~ Dallas Thompson, Special Assistant to the Grand Basileus at: dgthompson584@gmail.com 

Note to editors: Photos from the event and additional information are available upon request

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By Black PR Wire

(Black PR Wire) NEW YORK, NY — On Wednesday, June 19, at 7:00 p.m., the Healing of the Nations Foundation in association with Carnegie Hall presents a free Juneteenth Celebration event in Stern Auditorium / Perelman Stage. Juneteenth honors the beginning of our nation’s true independence—the freedom for all members of the reunited nation after the American Civil War. More than 400 years after the first enslaved African people were brought to the North American colonies, the fight for justice and equity continues. For a fifth consecutive year at Carnegie Hall, the Juneteenth event recognizes this historic day of freedom with a powerful program celebrating justice, peace, and love.

Hosted by Reverend Dr. James A. Forbes, Jr., Senior Minister Emeritus, Riverside Church & President and Founder, Healing of the Nations Foundation and featuring Broadway star Norm Lewis as the Master of Ceremonies, the special evening of commentary and performance include guest artists Grammy Award-winning singer and songwriter Gregory Porter, acclaimed composer, conductor, producer, and pianist Damien Sneed, visionary actor, singer, and writer Daniel Beaty, versatile conductor, arranger, and pianist Joseph Joubert, celebrated vocal ensembles Ebony Ecumenical Ensemble and The Adrian Dunn Singers, and more. Honorees this year include American politician, diplomat, and activist Ambassador Andrew Young and Healing of the Nations own Rev. Dr. James A. Forbes Jr. and wife Bettye Franks Forbes.

“On this third anniversary of the national holiday of Juneteenth, our nation, and our civilization face multiple crises.2024: The Year of Justice, Peace, and Loveis the theme for our celebration. I challenge us, as a nation and society, founded on enduring democratic ideals, to embrace this theme as our north star for healing.” says Reverend Dr. James A. Forbes, Jr. “As we gather in Carnegie Hall and around the nation for a joyous celebration, we should join our ancestors in their song of hope to bring better days ahead for this nation and all nations of the earth.”

Tickets for this year’s celebration are free and will be available at the Carnegie Hall Box Office, 154 West 57th Street beginning on Wednesday, June 12 at 11:00 a.m. There is a maximum of 4 tickets per person permitted at pickup. Inquiries about ticket availability can also be directed to CarnegieCharge at 212-247-7800. Tickets are also available online at www.juneteenthus.info. Group ticket requests can be arranged by emailing richard.wicg@gmail.com.

Reverend Dr. James A. Forbes, Jr. is the recipient of fourteen honorary degrees, including D.D. degrees from Princeton University, Trinity College, Colgate University, and University of Richmond. In 1996, Newsweek recognized Reverend Forbes as one of the twelve “most effective preachers” in the English-speaking world. Union Theological Seminary named him the first Harry Emerson Fosdick Adjunct Professor of Preaching in 1989, the same year he was installed as fifth senior minister of Riverside Church in New York City. His installment rendered him the first African American senior minister of one of the largest multicultural and interdenominational congregations in the United States. Following his address at the 2004 Democratic National Convention in Boston, Massachusetts, Forbes led an interfaith rally and demonstration at Riverside Church as part of the Church’s Mobilization 2004 campaign. In 2007, he formed the Healing of the Nations Foundation, a non-partisan, non-profit, national ministry of healing and spiritual revitalization.

Program Information
JUNETEENTH CELEBRATION
All American Freedom Day 2024: The Year of Justice, Peace, and Love

Stern Auditorium / Perelman Stage
Wednesday, June 19, 2023 at 7:00 PM
Rev. Dr. James A. Forbes Jr., Host

Norm Lewis, Master of Ceremonies

Gregory Porter, Vocals
Damien Sneed, Piano & Vocals
Daniel Beaty, Actor & Vocals
Joseph Joubert, Piano
Ebony Ecumenical Ensemble
The Adrian Dunn Singers
The Black Iris Project
New Jersey Youth Symphony
Helen Cha-Pyo, Conductor

with Honorees
Ambassador Andrew Young
Rev. Dr. and Mrs. James A. Forbes Jr.

Presented by the Healing of the Nations Foundation in association with Carnegie Hall.

Lead support for Carnegie Hall Citywide is provided by the Howard Gilman Foundation and the Hearst Foundations.

Additional support provided by Northwell Health, Official Healthcare Partner of Carnegie Hall.

Ticket Information

Tickets are free and will be available at the Carnegie Hall Box Office, 154 West 57th Street, beginning on Wednesday, June 12 at 11:00 a.m. Tickets are also available online at juneteenthus.info. Questions about ticket availability can be directed to CarnegieCharge at 212-247-7800.

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent

(NNPA Newswire ) — Just days after Howard University announced it would revoke the honorary degree awarded to Sean “Diddy” Combs in 2014, additional details have emerged about the decision and the mounting legal issues facing the hip-hop mogul.

On June 7, Howard University’s Board of Trustees voted unanimously “to accept the return by Mr. Sean Combs of the honorary degree,” as stated in their official release. The decision, linked to a series of abuse allegations against Combs, has led to the university stripping all associated honors and privileges.

Combs, 54, who attended Howard University from 1987 to 1989 before leaving without graduating, pledged $1 million in 2016 to establish the Sean Combs Scholarship Fund for financially needy students. The university has also terminated this pledge and a 2023 agreement with the Sean Combs Foundation.

The catalyst for this drastic move was a series of disturbing revelations. In November 2023, Casandra Ventura, known professionally as Cassie, filed a lawsuit accusing Combs of rape and physical abuse. The lawsuit was swiftly settled the next day. More recently, in May, CNN published surveillance footage from a Los Angeles hotel showing Combs attacking Ms. Ventura near the building’s elevators.

Combs posted an apology video on Instagram in response to the footage, saying, “I hit rock bottom — but I make no excuses. My behavior on that video is inexcusable. I take full responsibility for my actions in that video.”

Howard University, founded in 1867 to educate freed slaves, is a renowned historically Black university. Its notable alumni include Vice President Kamala Harris and Pulitzer Prize-winning author Toni Morrison. Last year, the university awarded honorary degrees to U.S. Rep. James E. Clyburn of South Carolina and Keith Christopher Rowley, the prime minister of Trinidad and Tobago.

“The university is unwavering in its opposition to all acts of interpersonal violence,” Howard University’s board wrote. “Mr. Combs’ behavior, as captured in a recently released video, is so fundamentally incompatible with Howard University’s core values and beliefs that he is deemed no longer worthy to hold the institution’s highest honor.” 

The revocation of Combs’ honorary degree comes amid a cascade of legal challenges for the founder of Bad Boy Records. In March, federal agents raided his homes in Los Angeles and the Miami area as part of a human trafficking investigation. Although no charges have been filed, the raids followed lawsuits by four women, including Ventura, accusing Combs of rape and sexual assault. A man has also accused him of unwanted sexual contact. Combs’ lawyers have been actively filing motions to dismiss these lawsuits.

Reportedly, prosecutors have convened a grand jury in New York and may seek sex abuse and other related charges against the mogul.

Adding to his woes, Combs recently sold his majority stake in his media company, Revolt, as his legal issues intensified. Earlier, he sold his half of the liquor brand DeLeón for approximately $200 million after its parent company cited tarnished reputation concerns. Moreover, a New York charter school network that Combs had been instrumental in expanding has severed ties with him.

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By Maria Sherman 
AP Music Writer

LOS ANGELES (AP) — Every June since the 1970s, across the United States, musicians, fans and industry professionals celebrate Black Music Month. It’s an opportunity to highlight the contributions of Black artists and position Black art at the center of American culture across popular music and beyond.

Black Music Month ‘s origins trace back to 1979. In that year, a decade after the Civil Rights era, President Jimmy Carter designated June a time to celebrate the cultural and historical significance of Black musicianship and held the first ever Black Music Month celebration on the White House lawn. That makes 2024 its 45th annual commemoration.

But what inspired Black Music Month in the first place, and how has it evolved?

WHAT IS THE HISTORY OF BLACK MUSIC MONTH?

Black Music Month was originally founded in 1979, but not by President Carter. Credit goes to Philadelphia soul pioneer Kenny Gamble of Gamble and Huff and a couple of other associates, said Naima Cochrane of the Black Music Action Coalition, an advocacy organization founded in June 2020 following a music industry blackout in response to the murder of George Floyd.

“Black Music Month was founded out of an organization called the Black Music Association,” she says.

Gamble based his organization, founded in 1978, on the Country Music Association because he saw how much power and influence they held in the country music business, Cochrane explains. He aimed to do the same with Black stakeholders in the music industry. Those included promoters, retailers, bookers, venue owners, executives, artists and household names like Rev. Jesse Jackson and Motown Records founder Berry Gordy.

Black Music Month, coincidentally, was brought forth by Gamble, Cleveland radio DJ Ed Wright, and media strategist Dyana Williams.

“Black Music Month was originally created to promote, protect, and perpetuate the business of Black music, not just to celebrate Black music,” says Cochrane. “The tagline was originally ‘Black music is green,’ and it was meant as a way to drive retail sales to increase awareness for the artists but honestly, really to increase the business of Black music, and not just to celebrate the history of Black music.”

“It’s evolved into something different over the years… The original intention has gotten lost,” she says. “The original purpose of the month was to prove that the business of Black music was profitable.”

HOW IS BLACK MUSIC MONTH CELEBRATED?

Each June, Black Music Month is recognized with a presidential proclamation.

“During Black Music Month, we celebrate the Black artists and creatives whose work has so often been a tidal wave of change — not only by defining the American songbook and culture but also by capturing our greatest hopes for the future and pushing us to march forward together,” President Joe Biden’s 2024 proclamation read. “Black music is a staple of American art and a powerhouse of our culture — that is why we must continue to open doors for the next generation of Black artists.”

This year, Biden will once again celebrate Black Music Month with a Juneteenth concert featuring Patti LaBelle, Gladys Knight, Charlie Wilson, Kirk Franklin, Anthony Hamilton, Brittney Spencer, Trombone Shorty and more.

Under the Obama Administration, Black Music Month was re-named African-American Music Appreciation Month but it’s since gone back to its roots.

Black Music Month “is an acknowledgement that Black music is an original American artform and has influence in almost every other American art form. But it was designed to drive the business of Black music to Black stakeholders,” Cochrane added.

In the years since its origins, Black Music Month has often been used as a salute to Black music excellence: 30 days to celebrate Black musicianship across media platforms, museums, streaming platforms and beyond. But some fear that concentrating the observance might have limiting effects.

WHAT ARE SOME OF THE DIFFERING OPINIONS ABOUT BLACK MUSIC MONTH?

“I always felt conflicted: happy to see the uplifting of Black artists but disappointed that Black Music Month only benefitted superstars (and ostensibly turned the other 11 months over to white musicians),” 4AD Records label manager Nabil Ayers wrote of Black Music Month in 2021.

“Musically, the Black Music Month that I knew in the ’90s and 2000s focused on the artists who could potentially sell the most records,” he continued. “But the reality is that it costs money to make music, and financial support for artists matters now more than ever.”

Of course, there are varying opinions. In 2016, Philadelphia resident Branford Jones started They Have the Range, a popular Instagram account with one million followers, dedicated to showcasing Black singers.

“When I created it, Black music programming wasn’t really there,” he says, noting a few other performance pages that “weren’t posting everyday Black people,” and a modern-day dearth of shows like “Soul Train” or BET’s “106th and Park.”

“For They Have the Range, every month is Black Music Month,” Jones says, laughing. “But it’s important to have a Black Music Month, especially in a time where so many people are trying to erase historical context. … We know how much Black folks have contributed to the world when it comes to music.”

He cites the Hulu series “The 1619 Project” as an influence: “One of the things they said about Black music is that it’s uncatchable. Every single decade, (Black music) has been able to shift, change, and lead the masses.”

For him, Black Music Month is an opportunity for celebration that can endure all year long — and it feels especially poignant that it lands in the month that also holds Juneteenth.

“As time moves on, more brands will become involved, more people will get involved,” he says. “And so it is important to recognize it.”

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Invite only event to take place on White House South Lawn

By Megan Sayles
AFRO Business Writer
msayles@afro.com

President Joe Biden and first lady Jill Biden will once again commemorate Black freedom with a Juneteenth Concert on June 10. The musical event will take place on the South Lawn of the White House, featuring a slate of artists that includes Gladys Knight; Raheem DeVaughn; Doug E. Fresh; Patina Miller; Brittney Spencer; Kirk Franklin; Anthony Hamilton; Patti LaBelle, Trombone Shorty; Roy Wood Jr. and Charlie Wilson.

The event takes place during Black Music Month, which acknowledges the contributions of Black musicians, composers, singers and songwriters. Former President Jimmy Carter established the month-long celebration in 1979, long after African Americans began shaping the course of music.

“Black music began when enslaved people, who were cruelly prohibited from communicating in their native languages, found ways to express themselves through music,” wrote Biden in a May 31 proclamation for Black Music Month. “Set to the sound of African rhythms, they captured the inhumanity, tragedy and toll that America’s original sin took on their lives while also telling the stories of their hopes and dreams, spirituality and love and purpose.” 

“Ever since, Black performers have carried on that tradition of using art to break down barriers, create sacred spaces for expression and give voice to the promise of America for all Americans,” he continued. 

Juneteenth, celebrated on June 19, marks the day Union troops of the American Civil War arrived in Galveston, Texas to announce the end of slavery in 1865—two years after President Abraham Lincoln’s Emancipation Proclamation declared Black people free. 

Juneteenth became a federal holiday on June 17, 2021 when Biden signed the Juneteenth National Independence Day Act into law. Last year, the president’s inaugural Juneteenth Concert showcased artists, like Jennifer Hudson, Ledisi and Method Man. 

The White House’s 2024 Juneteenth Concert will start at 7 p.m. on June 10.

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By Ericka Alston Buck
Special to The AFRO

Get ready, Baltimore. Pride Week is back and bigger than ever.

From June 10-16, Charm City will come alive with vibrant celebrations as it honors the theme “Power Of The Past, Force of The Future.” This year, with some Baltimore Pride events being hosted by the Pride Center of Maryland, promises a week of unforgettable events celebrating the rich history and dynamic
future of the LGBTQ+ community, especially highlighting the contributions and resilience of the queer community in Baltimore.

A Proud History
Baltimore Pride has come a long way since its humble beginnings in 1975, when a small group of activists gathered for a peaceful demonstration. Over the decades, this event has grown into a grand celebration of love, diversity and progress. From Mount Vernon, Downtown, Charles Plaza to Druid Hill Park, the locations have changed, but the spirit remains the same. Today, it stands as a powerful testament to the city’s commitment to inclusivity and equality.

Must-Attend Events
Mark your calendars and don’t miss out on these fabulous events lined up for Pride Week 2024.

June 8:
Baltimore Pride Day Party
Location: Winans Meadow, 4500 N Franklintown Rd.
Time: 2-9 p.m.
A day of music, dance, and community spirit in the beautiful outdoors of Winans Meadow.

Pride Drag Brunch on Point
Location: The Point in Towson
Time: 10 a.m.
Start your Saturday with a fabulous drag brunch showcasing some of the best talent in town.

Joëlle Retener: “Marley’s Pride”
Location: Enoch Pratt Free Library – Waverly Branch
Time: 11 a.m.
A literary celebration of Pride featuring readings and discussions.

June 9:
Peabody Pride Drag Brunch!
Location: Peabody Heights Brewery
Time: 12 p.m.
Join the party with a delightful drag brunch at one of Baltimore’s favorite breweries.

HoCo Pride at Color Burst Park 2024
Location: Color Burst Park
Time: 9:30 a.m.
Celebrate Pride with family-friendly activities in Howard County.

Divine Divas Pride Drag Brunch
Location: Ministry of Brewing
Time: 11 a.m.
Another fabulous drag brunch to get you in the Pride spirit.

June 10-16:
Baltimore Pride
Location: Various locations, including Druid Hill Park North Entrance and Greenspring Avenue
The main event week filled with exciting activities, starting on Monday and culminating in a
grand parade and festival.

June 13:
Cio’s Playhouse Presents: Baltimore Latin Pride Extravaganza
Location: Baltimore Eagle
Time: 9 p.m.
Celebrate the vibrant Latin community within Pride with an extravagant party.

June 14:
Ridin’ the Rails: Pride Train & Party
Location: B&O Railroad Museum, 901 W Pratt St.
Time: 7 p.m.
Hop on board for a unique Pride celebration on the rails, filled with music and merriment.

June 14-15
Mt. Vernon PRIDE on Read
Location: 200 W Read St.
A two-day street festival celebrating Pride in the heart of Mt. Vernon.

June 14-18:
Pride In Da Harbor 2024 Weekend Pass
Location: Dream Mega Lounge, 10 S. Calvert St.
Enjoy a weekend pass for various Pride events throughout the city.

June 15:
Show Your Pride Brunch!
Location: The Point In Fells, 1738 Thames St.
Time: 10 a.m.
Start your Saturday with a delicious brunch and great company.

Baltimore Pride Parade Elder Bus
Location: Baltimore Museum of Art, 10 Art Museum Drive
Time: 12-3 p.m.
A special bus service ensuring elder community members can join in the parade festivities.

Desires Pride Party
Location: Safari DC
Time: 9 p.m,
End your night with a bang at this lively Pride party.

Catonsville Pride 2024
Location: Catonsville Presbyterian Church, 1400 Frederick Rd., Catonsville.
Time: 3-6 p.m.
Celebrate Pride in the suburbs with this family-friendly event.

Responders For Pride Drag Brunch
Location: Donna’s Tavern & Restaurant
Time: 12 p.m.
A drag brunch dedicated to our brave first responders.

Diaspora Salon Pride Parade Watch Party
Location: Diaspora Salon
Time: 1 p.m.
Enjoy the parade with a fantastic view and great company.

June 15-16
Baltimore Pride After Party featuring Sapphira Cristál
Location: Baltimore Soundstage, 124 Market Place
Dance the night away at this spectacular after-party.

Untangled: Official Baltimore Pride After party
Location: Angels Rock Bar Baltimore, 10 Market Place
Another great after-party option to keep the celebrations going into the early hours.

June 16:
Join FARM at the Baltimore Pride Festival
Location: 2418 St Paul St.
Time: 2 p.m.
Engage with local organizations and celebrate the culmination of Pride week with community
activities.

THE BLACK MALL SUNDAY – Shop with two floors of Black Businesses
Location: The Black Mall
Time: 1 p.m.
Support Black-owned businesses and find unique treasures at this special event.

Stormchaser Drag Brunch: Pride Edition
Location: The Brewer’s Cask
Time: 10:30 a.m.
Enjoy a thrilling drag brunch to start your Pride Sunday.

Pride At Lost Ark!
Location: Lost Ark Distilling Co.
Time: 12 p.m.
Celebrate with delicious drinks and great company at this distillery event.

Official Baltimore Pride Closing Party
Location: Anonymous Restaurant & Lounge, 1225 Cathedral St.
Time: 5-9 p.m.
Close out the week with a final celebration of unity and pride.

June 19:
Black Is Beautiful Mirror Work Workshop
Location: 5621 Old Frederick Rd.
Time: 1 p.m.
A self-care workshop celebrating the beauty and strength of the Black community.

June 21:
Pride Cake Decorating Workshop (ages 13+)
Location: Flavor Cupcakery & Bake Shop
Time: 7:30 p.m.
Get creative with a fun and festive cake decorating workshop.

June 22:
PRIDE Hen House: Drag, Comedy, Burlesque Show
Location: The Crown Baltimore
Time: 8 p.m.
A night of drag, comedy and burlesque to keep the Pride spirit alive.

June 23:
Illusions Drag Brunch Baltimore Pride Edition
Location: Mother’s Federal Hill Grille
Time: 11 a.m.
End the month with a fabulous drag brunch.

June 29:
PRIDE Drag Show
Location: Pherm Brewing Company
Time: 7 p.m.
Celebrate Pride one last time with an exciting drag show.

The post Celebrating diversity and unity: Guide to Baltimore Pride 2024 appeared first on AFRO American Newspapers.

By Gene Lambey
Special to the AFRO

The National Black Theatre and the Apollo Theatre collaborated once again for the musical preformance, “The Gathering: A Collective Sonic Ring Shout” at the John F. Kennedy Center for the Performing Arts from May 26 through June 2. 

Director of the program, Jonathan McCrory and composer, Carlos Simon, both born in Washington, D.C., spoke with the AFRO on the significance of “The Gathering” and the importance of this year’s theme, “Uniting Art and Social Justice.”

McCrory explained to the AFRO that the origin of the production, first performed at the Apollo Theatre in 2022, was a response to the “orchestral pieces” of contemporary artist like Joel Thompson’s  “Seven Last Words of the Unarmed,” Carlos Simon’s “Amen,” and Courtney Bryant’s “Sanctum” and their struggles with Black culture in America. 

“What people will engage with [are] seven sonic pieces, going on a sonic quest that is answering that question: What does restoration look like today as we gather together?” said McCrory.

McCrory formed this production with two elements in mind: the foundation of gathering and the ring shout. He described a gathering as, “holding a space that allows us to heal some of the forgotten aspects of us, of who we are,” repairing the Black family tradition. 

Regarding the ring shout, McCrory said he saw it as an opportunity for Black communities to become more connected spiritually.       

“The Gathering” features a wide variety of music in Black culture such as gospel, classical, alternative, country and more. Simon noted to the AFRO that the wide range of music reflects Black America and its diversity. Simon noted that the orchestra at the helm of “The Gathering” production, the American Composer Orchestra, consists of contemporary classical composers.

“It is important to note that the composers that are represented, including myself, Joel and Courtney, we’re classified as contemporary classical composers but we draw on a [range] of musical styles,”  said Simon. He briefly mentioned the range of musical instruments for this performance such as wind, string, bass and percussion.  

The National Black Theatre and the Apollo Theatre are touring together for this production. CEO Sade Lythcott, of the National Black Theatre, and CEO Michelle Ebanks and executive director Kamiliah Forbes, of the Apollo Theatre, worked together to form this long-standing collaboration.  

The timing of “The Gathering” and this year’s theme, “Uniting Art and Social Justice” are things McCrory wanted to elaborate on as this is an election year. 

“When we think about where we are as a country, we think about the civic engagement that is needed and necessary in our country,” said McCrory. “In order to make adequate changes that would help to heal our society and our people forward, art is at the forefront of it.”

McCrory hopes that his production encourages social engagement and empowers the Black community.

“If there can’t be dialogue, there is no discourse. Without discourse, we are working in a monologue and not in a union,” said McCrory, discussing the social justice impact of the production.

McCrory was born and raised in Washington, D.C., with his music-oriented family in Northwest. Simon, born in Southeast and coming from a lineage of preachers, moved with his family to Atlanta at 10, growing up there. He moved back to D.C. in 2019. Both McCrory and Simon knew and honored the Kennedy Center as a place where their craft would not only be recognized but would be appreciated by the Black community.   

“The Gathering” is not only a musical movement advocating for liberation and social justice, and an exploration of Black culture but features a week-long family friendly program called A Place for Narrative Change. It consists of several workshops and events on the Kennedy Center campus throughout the week-long performance. 

The production will be performed in the Kennedy Center’s Opera House from May 26 through June 2. 

Gene Lambey is a resident of Washington, D.C., who focuses on community issues.  

The post The National Black Theatre, Apollo Theatre presents ‘The Gathering’ at the Kennedy Center appeared first on AFRO American Newspapers.

By Terry Spencer
The Associated Press

FORT LAUDERDALE, Fla. (AP) — Rapper and singer Sean Kingston and his mother committed more than a million dollars in fraud in recent months, stealing money, jewelry, a Cadillac Escalade and furniture, documents released May 24 allege.

Kingston, 34, and his 61-year-old mother, Janice Turner, have been charged with conducting an organized scheme to defraud, grand theft, identity theft and related crimes, according to arrest warrants released by the Broward County Sheriff’s Office.

The two were arrested May 23 after a SWAT team raided Kingston’s rented mansion in suburban Fort Lauderdale. Turner was arrested in the raid, while Kingston was arrested at Fort Irwin, an Army training base in California’s Mojave Desert where he was performing.

Kingston, who had a No. 1 hit with “Beautiful Girls” in 2007 and performed with Justin Bieber on the song “Eenie Meenie,” is being held at a California jail awaiting his return to Florida.

Robert Rosenblatt, the attorney for the Jamaican-American performer and his mother, said on May 24 that Kingston would return voluntarily if allowed, “which would save the state the expense of extradition and the costs of travel for the detectives and Sean.”

His mother was being held May 24 at the Broward County jail on $160,000 bond.

“We look forward to addressing these (charges) in court and are confident of a successful resolution for Shawn and his mother,” Rosenblatt said.

Specific details of Kingston’s and Turner’s alleged crimes are not included in the warrants, but the documents say that from October to March they stole almost $500,000 in jewelry, more than $200,000 from Bank of America, $160,000 from the Escalade dealer, more than $100,000 from First Republic Bank, $86,000 from the maker of customized beds and other smaller amounts.

Kingston, whose legal name is Kisean Anderson, was already on two years’ probation for trafficking stolen property. Further information on that conviction could not be found.

According to federal court records, his mother pleaded guilty in 2006 to bank fraud for stealing over $160,000 and served nearly 1.5 years in prison.

The two have also been sued.

In 2015, a seller of customized watches successfully sued Kingston and his mother in a New York City federal court for $356,000 after they failed to pay.

In 2018, a New York jeweler successfully sued the two for $301,000 after they scammed the store out of nine items.

More recently, a Florida entertainment systems company sued Kingston in February, saying he failed to pay $120,000 of a $150,000 bill for a 232-inch (5.8 meter) television it installed in his home. The TV is approximately 17 feet by 9.5 feet (5 meters by 3 meters) and covers a wall.

He allegedly told the owners that if they gave him a low down payment and credit, he and Bieber would make commercials for them. That never happened, and Kingston never paid, the lawsuit says.

The company’s attorney says Bieber had no involvement — Kingston was falsely using his name.

The post Rapper Sean Kingston and his mother stole more than $1 million through fraud, authorities say appeared first on AFRO American Newspapers.

By Career Communications Group

Career Communications Group is excited to announce the appointment of Alana Winns as its new chief content officer (CCO) and editor in chief. Winns will report directly to the CEO and publisher, playing a pivotal role in the executive team.

Winns brings with her over eight years of experience as a multimedia journalist, backed by a master’s degree in Multimedia Journalism from Columbia University. Throughout her career, she has held various roles that showcased her ability to adeptly manage writing, editing, reporting, production and content oversight.

She is known for her expertise in creating high-engagement multimedia content, incorporating audio, video, photography and text, all integrated through interactive mediums to produce captivating and impactful results. Her work is characterized by innovation, creativity and an unwavering interest in human-centric stories, which she masterfully incorporates into her projects.

Winns has established herself as a strategic thinker and adept planner, navigating the complexities of the modern media landscape with finesse. She thrives under pressure, managing tight deadlines and conducting high-stakes interviews with key figures from various industries, including entertainment and corporate leadership. Her problem-solving prowess ensures continuity and excellence, even in the face of unforeseen challenges.

In her new role as CCO, Winns is set to lead the charge in dismantling information silos and enhancing synergy across our diverse communication platforms, ranging from digital to print. Her leadership is anticipated to significantly bolster our content strategy, pushing the boundaries of creativity to boost viewer engagement and broaden our media influence.

Winns’ extensive experience in branded content, digital and online marketing, event planning and relationship building will be crucial in driving our team forward. We are eager to witness how her innovative strategies and leadership will revolutionize our content delivery and engagement.

This article was originally published by Career Communications Group.

The post Career Communications Group appoints Alana Winns as chief content officer and editor in chief appeared first on AFRO American Newspapers.

By Erika Alston Buck
Special to the AFRO

AfroPreak was the sunshine on a cloudy day! 

Baltimore’s Black excellence showed  up and showed out at  the 149th running of  Preakness Stakes. Preakness for us, was transformed into the AfroPreak Lounge experience, an event that seamlessly blended culture, style and community. This year’s AfroPreak, held on May 18 at Pimlico Race Course, marked a significant expansion in both guest list and footprint, offering an elevated, elegant, customized infield pavilion opposite Turfside Terrace experience.

Produced by the dynamic duo of events, AfroPreak is the brainchild of LaRian Finney and Derrick Chase. First introduced in 2022 with 300 guests during the George E. Mitchell Black-Eyed Susan Stakes, the event has grown exponentially, with the 2024 edition welcoming 1,000 VIP and premium guests. 

AfroPreak provided a vibrant cultural experience featuring diverse food, music and fashion, all set against the iconic backdrop of the American classic horse race.

“The AfroPreak Lounge has grown to be the heart and culture of Preakness,” said Finney. “From starting in 2022 as a concept with 100 guests to 1,200 guests for Preakness 149, it’s clear that this event resonates deeply with our community.”

Among the notable attendees were Ravens players Zay Flowers and Malik Cunningham; Baltimore Mayor Brandon Scott; City Council President Nick Mosby; Delegate Malcolm Ruff; members of The Maryland Legislative Black Caucus; Shelonda Stokes, president, Downtown Partnership; and Rachel Graham, CEO, BOPA. Guests enjoyed performances by renowned DJs, including DJ NO ID, DJ BIG L, DJ PDRAMA, and DJ FLOW (Meek Mill’s official DJ). The activation also featured a cigar lounge sponsored by Davidoff and a curated selfie lounge by Finn Design House.

Kevin Lyles, a prominent music executive known for his work with Def Jam Recordings and his role as CEO of 300 Entertainment, led the audience in a call-and-repeat to hip-hop classics, adding to the vibrant atmosphere. 

“Honored to grow our partnership with Preakness over the past three years,” said Finney. “Our team looks forward to playing an integral role in reimagining Preakness with AfroPreak and intentional community involvement at the center.”

AfroPreak was not just a social event but a celebration of community and culture. Derrick Chase highlighted the broader impact: “AfroPreak celebrates our elegance and stands as the bridge to making Baltimore better.” 

This year’s event saw collaboration with 1/ST, allowing 12 African American-owned companies to participate in the Preakness, showcasing local entrepreneurship and talent.

The atmosphere and decor of AfroPreak set a new precedent, combining mid-century modern and bohemian aesthetics to create a welcoming space for everyone. Attendees donned their best Preakness hats and fascinators. Some attendees clearly dug into the back of their closets for signature pieces while  many clearly opted for custom-made attire, ensuring that no one came to play. They all stood on Preakness—AfroPreak business.

From beginning to end, AfroPreak was a whole vibe, a testament to the unstoppable dynamic duo of Derrick Chase and LaRian Finney. As AfroPreak continues to grow and evolve, it stands as a shining example of how community-centered events can enrich cultural traditions and foster unity.

AfroPreak truly was sunshine on a cloudy day, proving once again that the convergence of culture, elegance, and community can create an unforgettable experience.

The post Review: AfroPreak 2024: Elevating the Preakness experience for Baltimore’s Black elite appeared first on AFRO American Newspapers.

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.

The post Diddy admits to 2016 assault in public apology, commits to personal growth appeared first on AFRO American Newspapers.

By Ariyana Griffin 
Special to the AFRO 

Beyoncé’s 2022 house music themed album, “Renaissance,” will be the topic of discussion at Prairie View A&M University this year. The Texas-based historically Black institution has partnered with the Human Rights Campaign (HRC) to provide coursework that highlights queer history and theory, feminism and diversity.

The HRC has been dedicated to meeting people where they are when it comes to advocating for equal rights and ending discrimination against the LGBTQ+ community for decades. 

Since 1980, the organization has put forth the work to expand their programming across the country, to fight for equal rights. Part of that expansion was the creation of an HBCU initiative, which provides students with education, ambassador opportunities and resources. “Renaissance-A Queer Syllabus,” was birthed from this program specifically to educate HBCU students. 

“This syllabus aims to amplify diverse voices, empower communities pushed to the margins, and promote inclusivity and a sense of belonging within education,” the organization states in the syllabus. 

“Renaissance” has tight ties to house music, a genre of music originated by the queer Black and Brown community in the early 1980s in Chicago. The electric beats and feel good rhythms allowed people to move their bodies freely and shed the day off of discrimination, hatred and worries on the dance floor. This era of music is highly connected to the AIDs epidemic, which greatly impacted the queer community. 

Beyonce dedicated the album to her uncle Johnny, who passed away from AIDS. She credits him for exposing her to music that helped make the album. 

“A big thank you to my Uncle Jonny. He was my godmother and the first person to expose me to a lot of the music and culture that serve as inspiration for this album,” she wrote on her website. “Thank you to all of the pioneers who originate culture, to all of the fallen angels whose contributions have gone unrecognized for far too long. This is a celebration for you.”

Justin Calhoun is a 2020 Howard University graduate. During his matriculation, he focused on LGBTQ inclusion and continued his work and activism at HRC. Calhoun also serves as HRC’s HBCU program manager. 

Calhoun explained that the syllabus was created to dig deeper, and provide a way of students to be met where they are and be inclusive. He spoke about the attack on legislation when it comes to queer rights and how it is also integrating with bans in the classroom.

“The Renaissance syllabus is a way that teachers and students can expand their education,” he said. “It’s Black, it’s queer– its really touching on topics that they might not get the chance to do because of some of these like legislative restrictions,” said Calhoun

The syllabus breaks down the album into six lessons: empowerment and self-acceptance; intersectionality and inclusivity; social justice and activism; resilience and overcoming adversity; artistic expression and storytelling and legacy and history. The curriculum is supported by several books, articles, essays and films, including but not limited to bell hooks and Audre Lorde.

Calhoun shared that harm to the LGBTQ community was a big reason he decided to help people gain knowledge of the community and its history.

O’Shae Sibley, specifically, is recognized in the syllabus. Sibley was a man who was murdered at the age of 28 years old queer for “voguing” – which is a highly stylized dance influenced by the 1960s Harlem ballroom scene.

“Simply for dancing somebody took his life and for dancing in our art form that is so Black, so queer. Somebody took his life because they didn’t see that, they didn’t value that. And so in the syllabus, towards the end, we do a tribute to O’Shae Sibley,” Calhoun told the AFRO. 

The course is open to multiple HBCUs in the HRC network, and has kicked off with Prairie View A&M University incorporating the course first. 

Jeanelle Hope, Ph.D., is the director and an associate professor of African American Studies at PVAMU. She has extensive knowledge in Black feminism, Black queer theory and Black art and cultural production. 

“They’ve geared it towards being able to bolster HBCUs teaching of concepts related to gender, sexuality, race and many of the other sort of themes that emerge out of the album,” said Hope, including “self-love, identity, Black LGBTQ rights and issues, intersectionality, social responsibility and social activism.” 

“It’s really exciting to see a major human rights organization invest not only in HBCUs, but also thinking about critical academic work that would be useful for students certainly at the higher-ed level,” Hope shared with the AFRO.

Hope teaches the “Race, Class and Gender in America” course at PVAMU and looks forward to incorporating elements from the syllabus into her course. She expressed that breaking down the history and terms related to the album and syllabus would be beneficial for students because they will be able to combine what they are already familiar with on a deeper level. 

“Sit with a song like ‘Alien Superstar’ for instance. Leaning into this notion that ‘Yes, I’m different, no, I don’t go within the binary or what may be the norm of Blackness, but I’m cozy within my skin. I’m cool with being an alien superstar and all that’s okay,’” Hope told the AFRO. 

She shared that students have already been emailing her to inquire about the course. 

“Many of our students are from Houston because Prairie View is just right outside of Houston. This is someone who is homegrown talent as well, so it holds a little bit more significance for them,” Hope told the AFRO. “I think it’s an opportunity again for us to be able to meet our students where they’re at, to be able to lean into popular culture and get them to have really robust discussions.”

HRC looks forward to hosting virtual courses in the future as well as having in person activities related to the syllabus in the fall at Howard University. 

The post Beyoncé inspires new college curriculum with ‘Renaissance’ album appeared first on AFRO American Newspapers.

By Anna Furman
The Associated Press

Over the past two decades, Gee’s Bend quilts have captured the public’s imagination with their kaleidoscopic colors and their daring geometric patterns. The groundbreaking art practice was cultivated by direct descendants of slaves in rural Alabama who have faced oppression, geographic isolation and intense material constraints.

As of this year, their improvisational art has also come to embody a very modern question: What happens when distinctive cultural tradition collides with corporate America?

Enter Target. The retailer launched a limited-edition collection based on the quilters’ designs for Black History Month this year. Consumer appetites proved to be high as many stores around the country sold out of the checkered sweaters, water bottles and faux-quilted blankets.

“We’re actually in a quilt revival right now, like in real time,” says Sharbreon Plummer, an artist and scholar. “They’re so popularized, and Target knew that. It created the biggest buzz when it came out.” 

Indeed, there has been a resurgence of interest among Gen Z and millennials in conscious consumption and the homemade — with “cottagecore” style, baking bread, DIY bracelets — but both are at odds with the realities of fast fashion.

The Target designs were “inspired by” five Gee’s Bend quilters who reaped limited financial benefits from the collection’s success. They received a flat rate for their contributions rather than pay proportionate to Target’s sales. A spokesperson for Target wouldn’t share sales numbers from the collection but confirmed that it indeed sold out in many stores.

Unlike the pay structure of the Freedom Quilting Bee of the 1960s — an artist-run collective that disbursed payment equitably to Gee’s Bend quilters, who were salaried and could set up Social Security benefits — one-off partnerships with companies like Target benefit only a small number of people, in this case five women from two families.

The maxim “representation matters” is not new, but it’s gaining wider traction. Still, when visibility for some doesn’t translate into meaningful change for a marginalized community as a whole, how is that reconciled?

A HISTORY OF OUTSIDERS

“Every stage of the finances has been problematic,” says Patricia Turner, a retired professor in World Arts and Culture and African American Studies at UCLA who traced the commodification of Gee’s Bend quilts back to the White collector Bill Arnett in the 1990s. “I’m really bothered by Target’s in-house designer manipulating the look of things to make it more palatable for their audience,” she says of the altered color palettes and patterns.

Target spokesperson Brian Harper-Tibaldo said that quilters had the opportunity to provide input on multiple occasions throughout the process.

“We worked with five quilters from The Quilters of Gee’s Bend on a variety of limited-time only items,” he wrote in an emailed statement. “As is standard with limited-time collections at Target, each quilter was paid a discussed and agreed upon fee for their services. As outlined in our contracts, Target had the right to make final design decisions, however, with the goal of honoring their storied heritage, the process was highly collaborative.”

While thumbnail-size photos of the makers appeared on some marketing materials and the text “Gee’s Bend” was printed on clothing tags, the company’s engagement with the quilters was limited. As soon as Black History Month ended, the quilters’ names and images were scrubbed from the retailer’s site.

Target has pledged to spend more than $2 billion on Black-owned businesses by 2025.

The situation today mirrors that of the 1990s, when some quilters enjoyed newfound visibility, others were disinterested and still others felt taken advantage of. (In 2007, several quilters brought a series of lawsuits against the Arnett family, but all cases were settled out of court and little is known about the suits because of nondisclosure agreements.)

The profit-oriented approach that emerged, which disrupted the Quilting Bee’s price-sharing structure, created “real rifts and disharmony within the community,” Turner explains, over engaging with collectors, art institutions and commercial enterprises. “To have those bonds disrupted over the commercialization of their art form, I think, is sad.”

REPRODUCING ART OUT OF CONTEXT

Quilts are made to mark major milestones and are gifted to celebrate a new baby or a marriage, or to honor someone’s loss. Repurposing fabric — from tattered blankets, frayed rags, stained clothes — is a central ethos of the community’s quilting practice, which resists commodification. But the Target collection was mass-produced from new fabrics in factories in China and elsewhere overseas.

The older generations of Gee’s Bend quilters are known for one-of-a-kind designs with clashing colors and irregular, wavy lines — visual effects borne of their material constraints. Most worked at night in houses without electricity and didn’t have basic tools like scissors, let alone access to fabric stores. Stella Mae Pettway, who has sold her quilts on Etsy for $100 to $8,000, has characterized having scissors and access to more fabrics now as a paradox of “advantage and a disadvantage.”

Many third- and fourth-generation artists returned to quilting as adults for a creative and therapeutic outlet, as well as a tether to their roots. After her mom died in 2010, quilter JoeAnn Pettway-West revisited the practice and found peace in completing her mother’s unfinished quilts. “As I’m making this stitch, I can just see her hand, stitching. It’s like, we’re there together,” she says. “It’s a little bit of her, a little bit of me.”

Delia Pettway Thibodeaux is a third-generation Gee’s Bend quilter whose grandmother was a sharecropper and whose bold, rhythmic quilts are now in the Philadelphia Museum of Art’s permanent collection. For the Target collection, she received a flat fee rather than a rate proportional to sales.

“I was kind of concerned in the beginning” about how quilts would be altered to fit with the collection, Pettway Thibodeaux says. “But then again when I saw the collection, I felt different.”

Claudia Pettway Charley, a Gee’s Bend quilter and a community manager at Nest, a nonprofit, said in an emailed statement that the collaboration was “a great way to make our designs accessible” to a wide audience.

“We had no idea how large this campaign would be and what it would mean to our community,” she said.

LOOKING FOR ECONOMIC REVITALIZATION

Because job opportunities are so limited in Gee’s Bend, many fourth-generation quilters have left the area to take jobs as teachers, day care workers, home health aides, and to serve in the military.

“We, as the next generation, were more dreamers,” Pettway-West says.

National recognition has certainly brought some positive change. But more visibility — from museum exhibitions, academic research, a U.S. Postal Service stamp collection — hasn’t necessarily translated into economic gains. After all, the average annual income in Boykin, Alabama, is still far below the poverty rate at about $12,000, according to the nonprofit Nest.

“This is a community that still, to this day, really needs recognition, still needs economic revitalization,” says Lauren Cross, Gail-Oxford Associate Curator of American Decorative Arts at The Huntington Museum of Art. “And so any economic opportunities that, you know, funnel back to them, I support.”

Target’s line in particular, though, is disconnected from the group’s origins and handmade practice, she says. It’s a problem that distills the very challenge at hand when something handcrafted and linked to deep tradition goes national and corporate.

“On one hand you want to preserve the stories and that sense of authenticity,” Cross says.

“And on the other hand,” she asks, “how do you reach a broader audience?”

The post They made one-of-a-kind quilts that captured the public’s imagination. Then Target came along appeared first on AFRO American Newspapers.

By Sean Yoes
Special to the AFRO

Internationally acclaimed singer and Baltimore community activist Navasha Daya will celebrate her birthday in grand fashion this year by honoring two of the greatest musicians of the 20th century: Ella Fitzgerald and Duke Ellington.

Daya will perform at the Keystone Korner, one of the top jazz venues on the East Coast, on May 19 for two shows (5 p.m. and 7:30 p.m.), exploring the catalogs of these two titans of American music.

This birthday bash tribute concert (Daya and Fitzgerald share a birthday on April 25; Sir Duke’s is April 29) is a show Daya says she has been looking forward to.

“I have been eager to stage this show for a long time,” Daya told the AFRO. 

“Duke Ellington is a composer I deeply admire, and I have a special fondness for Ella’s voice and she and I share a birthday,” she added. “As all three of us are Taureans, I felt it fitting to schedule the show during Taurus season. It is fascinating that this year, this show coincides with the birthday of another luminary, Malcolm X.”

Daya is completing work on her highly anticipated album, “Legacy (A Tribute to Gil Scott-Heron),” in loving praise of her late cousin. 

Daya has shared the stage with many other great contemporary artists, including Hugh Masekela, Jill Scott, Common, Angelique Kidjo, Erykah Badu, Rachelle Farrell and Cassandra Wilson, to name a few.

Grammy-Award winner India Arie described Daya’s voice as “the true definition of soulful.” 

Beyond the stage, the multi-talented singer, producer and arranger is a committed cultural arts and community activist. Daya and her husband, music producer and filmmaker Fanon Hill are founders of the Youth Resiliency Institute based in the Cherry Hill community of South Baltimore. The group’s mission is, “to utilize the arts to mobilize and bring change and equity in the community,” according to Daya.

The Youth Resiliency Institute is preparing for its annual Cherry Hill Arts and Music Waterfront Festival, held on July 4 in South Baltimore’s Middle Branch.

For more information on Daya’s tribute to Fitzgerald and Ellington at the Keystone Korner, visit this link.

The post Navasha Daya to honor Ella and Duke at Keystone Korner appeared first on AFRO American Newspapers.

By Ashlee Banks
Special to the AFRO

TikTok is suing the Biden-Harris administration over a new law that is on track to ban the app next year. 

U.S. Rep. Ro Khanna, D-Calif. told the AFRO “TikTok has become a place for activists and organizers to make their voices heard, especially when it comes to speaking up for the human rights of Palestinians.” 

The Democratic lawmaker added that “A TikTok ban would hurt free speech as well as small business owners who depend on the app for their livelihoods.”

On May 7, TikTok and ByteDance, the app’s Chinese parent company, filed a lawsuit with the U.S. Court of Appeals for the District of Columbia Circuit citing that a potential ban of the app would violate the First Amendment rights of millions of Americans who use TikTok. 

Last month Congress passed a law demanding ByteDance divest from the social media platform and sell it to a company approved by the U.S. within the next nine months or be outlawed in the U.S. Lawmakers stated that since TikTok is owned by China it poses a national security threat to American TikTok users. 

Shortly after the bill made its way through the U.S. House of Representatives and the U.S. Senate, President Joe Biden signed it into law.

During a White House press briefing last month, U.S. National Security Advisor Jake Sullivan told reporters that the Biden-Harris administration is “focused” on “working through [the] divestment [of TikTok] in a way that is consistent with the intent of the law and consistent with the national security concerns that brought the law into force in the first place.” 

Khanna told the AFRO that a ban on TikTok will harm Black and brown users who rely on the app to earn an income.

He added, “I voted against the bill because I don’t believe in censorship. It will now be up to the courts to decide if a ban is unconstitutional.”

Junior U.S. Sen. John Fetterman, D-Pa. told the AFRO that he voted for the bill, however he disagrees with a ban.

“I could have banned it in my home [state] and I didn’t. So, I’m not trying to ban it for everybody,” said Fetterman.

He added “It needs to be made safer and I support that.”

U.S. Rep. Greg Casar, D-Texas told the AFRO that while he understands “the national security concerns” that some members of Congress and the Biden-Harris administration have regarding TikTok he believes the statute “may not reach its intended purposes.”

“We need better protections for people across all social media platforms,” said Casar. 

The Texas lawmaker continued, “While I would like for TikTok to be owned by a company outside of China because I think that would provide more protection for its users, I’m not sure this solution is actually going to fix that problem.”

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By Special to the AFRO

In a momentous event hosted at the World Trade Center in Baltimore on May 1, distinguished guests from both the East and West Coasts gathered to celebrate the remarkable career and groundbreaking achievements of Darin Atwater, the newly appointed artistic director of the Monterey Jazz Festival. The tribute and award presentation, which included the conferral of the Key to Baltimore City, marked a historic milestone in Atwater’s journey as a musical pioneer and cultural ambassador.

The Monterey Jazz Festival, founded in 1958 by Jimmy Lyons, has a rich history as one of the world’s premier jazz festivals. Originating on the grounds of the Monterey County Fair, the festival quickly gained renown for its lineup of jazz luminaries and its commitment to artistic excellence. Over the years, it has served as a launching pad for legendary performers such as Billie Holiday, Louis Armstrong, Miles Davis and Herbie Hancock. Its storied stages have witnessed historic performances and collaborations, cementing its reputation as a cultural institution dedicated to the celebration and preservation of jazz music.

Atwater is the first African-American to take the artistic helm of the acclaimed event. Under his leadership, he promised to provide opportunities to perform on the main stage to overlooked and underappreciated artists who may not otherwise have the chance to showcase their talents at this scale.

It was but one among many of Atwater’s varied accomplishments celebrated at the May 1 event, which shone a spotlight on his unparalleled contributions to the world of music, particularly through his transformative work with Soulful Symphony. For over two decades, Atwater has redefined the boundaries of musical expression, blending genres and creating innovative experiences that resonate with audiences across the nation. Soulful Symphony, under his visionary leadership, has become a beacon of artistic excellence and inclusivity, challenging conventions and inspiring generations of musicians.

Mayor Brandon Scott, in explaining why Atwater was awarded the Key to the City, emphasized the transformative impact of Atwater’s work on the cultural landscape of Baltimore and beyond. 

“He changed the game,” Scott said. “What he’s done with Soulful Symphony, lifting it up from Baltimore to the nation, is an important testament to his immense talent and dedication.”

During the reception, Atwater expressed his gratitude for the honor bestowed upon him by his hometown. 

“It is unbelievably amazing to be honored by a city that you’ve done so much work in,” Atwater said. “To have that acknowledgment in your own city, it doesn’t happen a lot. So to be honored, to have my friends and closest colleagues here, it’s just unbelievable.”

In a “fireside chat” curated by The Finn Group and moderated by Tom Hall, a close friend and host of “Midday” on WYPR, Atwater discussed his vision for the future of the Monterey Jazz Festival and his approach to curating an experience that is both innovative and inclusive. 

“Monterey Jazz Festival has stayed true to straight-ahead jazz for 67 years,” Atwater explained. “But it’s also about bridging disparate opportunities and bringing in different voices, genres, and experiences.”

Atwater’s tenure at the Peabody Institute promises to be equally transformative, with a focus on expanding the conservatory’s curriculum to encompass American roots music and provide students with a more diverse and inclusive musical education.

The event culminated with a special offer for those in attendance to attend the very first festival under Atwater’s direction, this year, gifted by Executive Director Colleen Bailey, who flew in from California to celebrate the occasion with her new artistic director along with a few members of her leadership team.

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

(NNPA NEWSWIRE) – In the heart of Manhattan, blocks from the 42nd floor apartment located on 43rd St. and Ninth Ave. where the story unfolds, stands the Shubert Theater, currently home to the captivating Broadway musical, “Hell’s Kitchen.” Developed over 12 years by the incomparable Alicia Keys, this jukebox musical is a touching journey through the soulful melodies that have defined her career.

At a recent midweek and matinee performance, attended by Keys’ own mother, “Hell’s Kitchen” was not just palpable, but electrifying. From the moment the lights dimmed to the final bow, the exceptional performances and the energy of the show were evident, even as Keys’ mother, Terria Joseph, could be heard enthusiastically cheering, laughing, and singing along throughout the performance.  The musical left little doubt as to why, in bustling New York, in the middle of the week, a sold-out crowd poured into the Shubert Theater. It also provided many clues as to why this production has earned an impressive 13 Tony Award nominations.

The narrative delves deep into the tumultuous relationship between 17-year-old Ali (the main character based on Keys), portrayed with profound depth and charisma by Gianna Harris (filling in for Tony-nominated lead actress Maleah Joi Moon), and her fiercely protective mother, Jersey, in an absolute powerhouse performance by Shoshana Bean. Set against the backdrop of the late 1990s Times Square area, Ali’s quest for independence and love clashes with Jersey’s fears and desires for her daughter’s safety, all of which creates a story that likely resonates with the audience’s own experiences.

Harris shines in her portrayal of Ali, seamlessly weaving Keys’ iconic hits such as “Girl on Fire” and “Fallin’” into the fabric of her character’s journey. Opposite her, Bean delivers a tour de force performance, capturing the raw emotion and maternal love that drive Jersey’s actions.

The supporting cast, including Brandon Victor Dixon as Ali’s father, Davis, and Kecia Lewis as the amazing Miss Liza Jane, Ali’s spiritual mentor, further elevated the production. Lewis’ rendition of “Authors of Forever” is exceptionally breathtaking, showcasing her remarkable vocal range and depth of emotion.

While “Hell’s Kitchen” may not be a strict retelling of Keys’ life story – it ostensibly covers just her life as a 17-year-old – it offers a glimpse into a pivotal moment in her adolescence. Kristoffer Diaz’s expertly crafted book ensures that the focus remains on Ali and her journey toward self-discovery, creating a narrative that sticks with audiences long after the final curtain falls.

With its electrifying performances and soul-stirring music, “Hell’s Kitchen” is a testament to Alicia Keys’ enduring legacy as a musical icon. It proved more than just a Broadway production; it’s a celebration of the power of music to inspire, uplift and transform lives. It’s also a gift from Keys to New York, celebrated in the closing with the heart-thumping sound, lyrics, and performance of Keys’ hit with Jay-Z, “Empire State of Mind,” with the cast alternately crooning: “Ooh, New York. Ooh, New York. Even if it ain’t all it seems, I got a pocketful of dreams. Baby, I’m from New York! Concrete jungle where dreams are made of. There’s nothing you can’t do. Now you’re in New York! These streets will make you feel brand new, big lights will inspire you. Let’s hear it for New York, New York, New York!”

The post Review: ‘Hell’s Kitchen’– A thrilling musical journey through Alicia Keys’ soul appeared first on AFRO American Newspapers.

By Ericka Alston Buck 
Special to the AFRO

The soul-stirring melodies of gospel music filled the air at the historic Joseph Meyerhoff Symphony Hall on April 27 as the Baltimore Symphony Orchestra (BSO) presented its highly anticipated GospelFest 2024. Led by conductor Dr. Henry Panion III, the evening promised a symphonic celebration of faith and music– and it delivered that and much more.

Grammy award-winning gospel superstar Donald Lawrence took center stage alongside the BSO, captivating the audience with his powerful vocals and infectious energy. But Lawrence wasn’t alone in delivering a mesmerizing performance– he was joined by two distinguished Historically Black Colleges and Universities (HBCU) choirs: the Howard Gospel Choir, under the direction of Reginald Golden, and the Morgan State University Choir, under the direction of Dr. Eric Conway.

From the moment the first note rang out, it was clear that this event would be more than just a concert– it was a spiritual experience. Waves of attendees swayed and sang along, punctuating the air with heartfelt “amens” and “hallelujahs.” The atmosphere was electric, reminiscent of a Baptist church revival, with choir members and audience members alike caught up in the spirit of the music.

Tuba player Aubrey Foard, a seasoned member of the BSO, reflected on the experience. 

“For me, it’s not a typical gospel experience. There’s a lot of energy. There’s a lot of enthusiasm. There’s a lot of support when you’ve got a crowd behind you of friends and colleagues cheering you on.” 

Foard reflected on how the choir supported the lead vocalists with praise, hand claps, affirmations and praises as they performed powerful numbers for those gathered.

Freshman Morgan State University student Zion Waters shared her enthusiasm once the concert was done. 

“This experience has been amazing,” she said. “I love the fact that we were able to work with Donald Lawrence, one of the greatest gospel artists out here. I’m blessed and I’m very happy.”

The evening’s repertoire was nothing short of spectacular.  Hits like “The Blessing of Abraham” and “Healed” had the audience on their feet, singing along with the performers. 

Lawrence shared touching anecdotes, including the story of finishing the late Dr. Andre Crouch’s “Bless Me Indeed,” a song that left Crouch in tears upon hearing its transformation.

A highlight of the night was when award-winning songwriter and poet “Wordsmith” joined the HBCU choirs and the symphony orchestra for a remarkable rendition of “Glory” from the movie Selma, leaving the audience spellbound.

In the end, GospelFest 2024 was more than just a concert– it was a celebration of faith, unity and the transformative power of music. 

As Lawrence himself proclaimed, the evening was simply about getting the audience ready for church in the morning. And indeed, it was an experience that left hearts lifted and spirits renewed, a testament to the enduring power of Gospel music.

The post BSO’s GospelFest 2024: A harmonious blend of symphony and spirit appeared first on AFRO American Newspapers.

By Ericka Alston Buck
Special to the AFRO

The Howard County NAACP is gearing up for its annual Freedom Fund Jazz Luncheon, scheduled for April 27. This year’s luncheon promises to be an electrifying affair, featuring Grammy-nominated poet, human and civil rights activist, journalist and author Kevin Powell as the keynote speaker.

The Freedom Fund Jazz Luncheon holds a special place in the hearts of Howard County residents, serving as both a fundraiser and a platform to honor local champions of justice and equality. Willie Flowers, president of the NAACP Howard County Branch, highlighted the event’s significance. 

“The Freedom Fund is our annual event, a fundraiser, but more importantly, an opportunity for us to recognize people in the community,” he said. 

Flowers emphasized the NAACP’s commitment to advocacy and community service, citing programs like the Freedom School and the George Washington Carver Community Garden as examples of the organization’s dedication to addressing social justice issues. 

“Our funds go specifically for our advocacy activities, responding to every single challenge that happens in the community at the civil rights level,” Flowers explained.

In an exclusive AFRO News interview, Powell echoed Flowers’ sentiments, emphasizing the critical role of organizations like the NAACP in the fight for equality. 

“It’s more critical than ever,” Powell remarked. “All the little victories that we’ve gotten around the Civil Rights era, one by one, people are pushing back hard.”

Powell, known for his activism and extensive work in journalism, urged emerging leaders to prioritize community upliftment. 

“We’ve got work to do around legislation that’s being pushed to set us back 50, 60 years, if not more,” Powell stated. “We’ve got to raise our voices, use our voices in some very critical ways.”

The luncheon will provide a platform for Powell to address urgent issues facing the community and inspire attendees to take action. 

“As the keynote speaker at the NAACP Freedom Fund, I hope to convey the urgency of now,” Powell explained. “We’ve got work to do to preserve things that were fought for.”

Flowers emphasized the need for accountability among elected officials.

“Our black elected officials should represent us. They should not do the same things that other officials have done to nullify hope for our young people moving forward,” he said.

The Howard County NAACP Freedom Fund Jazz Luncheon promises to be a transformative event, bringing together community members, activists and leaders to celebrate progress and renew their commitment to social justice.

For more information about the event and how to get involved, visit the NAACP Howard County Branch website.

The NAACP Howard County Branch, founded in 1944, is dedicated to advocating for civil rights, equality and justice in Howard County, Md. Through its programs and initiatives, the NAACP Howard County Branch works to address systemic issues and empower communities to create positive change.

The Howard County NAACP Freedom Fund Jazz Luncheon will be held on Saturday, April 27 at The Hotel at Arundel Preserve, located at 7795 Arundel Mills Boulevard Hanover, Md. Tickets are available for purchase on the NAACP Howard County Branch website, available at https://www.howardcountynaacp.com/freedom-fund-luncheon. 

Don’t miss this opportunity to be part of a movement for change and join the Howard County NAACP in the fight for justice and equality.

The post Howard County NAACP to host Freedom Fund Jazz Luncheon appeared first on AFRO American Newspapers.

By AFRO Staff

The ladies of the National Coalition of 100 Black Women’s (NCBW) Baltimore Metropolitan Chapter hosted “Pearls with a Purpose” on April 14. The event, which featured a deluxe bull roast, took place at Martin’s West in Baltimore. DJ KeeBee provided sounds for the evening, as attendees enjoyed a three-hour buffet and open-bar. 

While there was plenty of fellowship and networking to do, the event was also a fundraiser. Proceeds from the event will help the NCBW’s Baltimore Metropolitan Chapter continue their advocacy work through community programming. The funds will be aimed specifically at “the areas of health, education and economic empowerment,” according to information released by the organization. 

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By Gene Lambey,
Special to the AFRO

April is a National Financial Literacy Month, making it the perfect time to read up on all things related to money. Check out the list below and see which book is the perfect fit for you and your home library. 

Cashing Out: Win the Wealth Game by Walking Away (June 2022)

Written by Julien and Kiersten Saunders

Number of pages: 272

The AFRO recommends “Cashing Out: Win the Wealth Game by Walking Away” for avid readers looking to reach financial freedom. The authors, Julien Saunders and Kiersten Saunders, address spending habits, saving, earning and investing from the Black perspective. The book teaches readers how to break the mold from the ties of corporate America and build their finance. 

The pair has a podcast, titled “The Rich and Regular,” along with a Youtube channel called “Money on the Table.” For more information, please visit https://richandregular.com/

The Guide to Black Wealth (February 2021)

Written by Sheldon Campbell

Number of pages: 118

Written by Sheldon Campbell,“The Guide to Black Wealth” helps readers on ways to build their wealth. The author addresses how to budget your money, cut expenses, save money, invest in the stock market and much more with a focus on finances for men.

The Battle of Finance and Fame (March 2023)

Written by Lisa McCorkle

Number of pages: 156

“The Battle of Finance and Fame” is a novel about a young hip-hop lyricist named “Chat” who enters the music industry. Teens and young adults alike are taken on a journey with Chad as his star rises to fame. Will he manage his spending habits and avoid debt? Being a hip-hop lyricist earns money, but what comes after? The author, Lisa McCorkle, wrote this novel for teens and young adults to teach them about healthy spending habits, how to budget your money and many more important lessons. Check out this book if you have teens or young adults in your home. 

Get Good with Money (March 2021)

Written by Tiffany Aliche

Number of pages: 368

“Get Good with Money,” is the perfect book to help the average American understand and use money effectively. The author, Tiffany Aliche, presents a ten step plan for obtaining financial security and a calm mind around your finances. Pick up this book today if you are looking to build generational wealth through financial wholeness. 

Financial Freedom for Black Women (May 2022)

Written by Brandy Brooks

Number of pages: 188
“Financial Freedom for Black Women” is about seeking financial freedom and winning it in wealth, career, business and other avenues. The AFRO chose this book because the author delivers financial information based on current trends.The author, Brandy Brooks, focuses not only on how to manage finances but lesser known topics in finance such as cryptocurrency, real estate and the stock market.

The post Five finance books to read by Black authors appeared first on AFRO American Newspapers.

By Alexis Taylor,
AFRO Managing Editor

Elected officials, members of the Divine Nine and supporters of the AFRO American Newspapers gathered at Martin’s West in Baltimore on April 20 for the organization’s 2024 High Tea. 

The afternoon served as a salute to the nine Black Greek letter organizations (BGLOs)  that make up the “Divine Nine.” Guests traveled from near and far to be present at the event in their finest threads and tea hats.

“The tea was a beautiful display of Black excellence as we honored the work of the Divine Nine,” said AFRO CEO and Publisher Frances “Toni” Draper. “We had a good time.”

Draper said the tea was about more than adults coming together to fellowship and network.

“What really warmed my heart were the little girls in the room,” said Draper. 

The publisher was grateful for the tea hostesses who saw the importance of bringing young people to the event. 

“When you start young, exposing children to these kinds of things, then they learn the social graces,” she said. “They learn what to wear and when. We’re not trying to make them adults, but they learn how to be in adult spaces and thrive.” 

Young people in attendance had an opportunity to experience the high society affair with the likes of Maryland Comptroller Brooke E. Lierman and current Baltimore City Mayor Brandon M. Scott, who both took time to speak to the work of BGLOs. 

“The Divine Nine sororities and fraternities play such an important role in our communities, in our school and in our businesses,” said Lierman. “Their members are leaders of nonprofits, businesses and schools all over the state. I wanted to be here to salute them, the service they give and the leadership they provide to the state of Maryland.”

This year’s event was not the first time Lierman has been in attendance.  

“I love the AFRO tea. It’s an amazing day,” said Lierman. “We get dressed up, honor one another, celebrate being a woman in Maryland and support an amazing, historically important organization- the AFRO.”

Mayor Scott echoed Lierman’s statements about the impact of Black fraternity and sorority members while addressing the crowd during the event. 

“Your work is how we have unemployment to its lowest ever in the City of Baltimore,” said Scott, speaking of the impact of BGLOs on the area. “The City of Baltimore– despite what certain people try to tell you on the tv every night– has the eighth fastest growing economy in these United States of America.  It’s you all, working together…that have our children more ready to enter school than any students in the state of Maryland, despite what they say about our young people.” 

“I want to say thank you for continuing to believe in Baltimore,” said Scott, adorned in a crisp, peach suit.

Though the honorees and notable attendees were a large focus of the event, by far the fashion and culture seen at the 2024 AFRO High Tea were a highlight of the afternoon. See pictures here.

Hats big and small were on a full display as Divine Nine members arrived clad in the colors of their respective organizations.

Kendra Parlock spoke with the AFRO about her experience at this year’s tea and her time in Alpha Kappa Alpha Sorority (AKA) while donning a green suit and salmon pink hat.

“It was amazing, as usual,” she said, describing the event as “a room full of main characters” where each person allows the other to shine. “I bring my mom every year. It is the best display of fashion in Baltimore.”

Parlock joined AKA in the Spring of 1990. The moment was about much more than joining another club on campus. 

“I was the first one in my family to go away to school and I went to the University of Florida. At the time, the student body president was not only a Black woman, but she was a member of Alpha Kappa Alpha Sorority. That really struck me,” said Parlock. “She was a leader at majority White university. That was my introduction to sorority life.” 

Joyce Finch Baugh also spoke about her beloved sorority. 

“I’ve been an AKA for 33 years,” she said, adding that she respects the organization for “all of the good services done in the community.”

Keba Armstrong, a member of Delta Sigma Theta’s Baltimore County Alumnae Chapter, also took time to speak with the AFRO at the event.

“It was a great experience for my first time being at the tea,” she said. 

Armstrong decided to pledge all of her love to Delta Sigma Theta Sorority in 2023 because, according to her, “it’s the only way.” 

She said the “sisterhood and the service” attracted her. Armstrong said her first AFRO High Tea experience was “very honorable” because it gave her an opportunity to be in a room full of fierce, Black women.

Attendees of all ages enjoyed the occasion, which included an appearance from the last living founder of any Divine Nine organization, Iota Phi Theta Fraternity Founder Lonnie “Butch” Spruill. 

“It’s always good to give people their flowers while they can enjoy them,” said Draper.

Spruill spoke with the AFRO moments before departing the tea. 

“I was blessed to be here and [be] honored by the AFRO,” said Spruill. “But I feel some sorrow for the 11 other founders of Iota Phi Theta Fraternity, who could not be here…but I’ve got a feeling they can see this.”

See more pictures and videos here.

The post Hundreds attend AFRO High Tea in honor of Divine Nine organizations appeared first on AFRO American Newspapers.

By The Associated Press

NASHVILLE, Tenn. (AP) — Mandisa, a contemporary Christian singer who appeared on “American Idol” and won a Grammy for her 2013 album “Overcomer,” has died. She was 47.

A representative for the singer told The Associated Press that the singer was found dead in her home in Nashville, Tennessee, on April 18. The representative said the cause of Mandisa’s death was not yet known.

Mandisa, whose full name was Mandisa Lynn Hundley, was born near Sacramento, California, and grew up singing in church. She gained stardom after finishing ninth on “American Idol” in 2006.

As she left, host Ryan Seacrest told the singer that she was “a great spirit on the show.”

Mandisa moved on, releasing her debut album in 2007 called “True Beauty,” which received a Grammy nomination that year for best pop and contemporary gospel album.

She went on to release five more albums, including a Christmas album.

In 2014, she won a Grammy for best contemporary Christian music album for “Overcomer,” her fifth album.

Mandisa spoke openly about her struggles with depression, releasing a memoir entitled “Out of the Dark: My Journey Through the Shadows to Find God’s Joy” in 2022 that detailed her experiences with severe depression, weight-related challenges, the coronavirus pandemic and her faith.

On April 19, the Christian radio network K-Love paid tribute to the singer on social media, saying: “Mandisa struggled, and she was vulnerable enough to share that with us, which helped us talk about our own struggles.”

The post Mandisa, Grammy-winning singer and ‘American Idol’ alum, dies at 47 appeared first on AFRO American Newspapers.

By Black PR Wire

(Black PR Wire) WASHINGTON, D.C. – NICE CROWD, in partnership with Events DC, is thrilled to announce the return of the Because They’re Funny (BTF) Comedy Festival, a three-day event dedicated to amplifying BIPOC comedic talent. Following its acclaimed debut in 2023, which USA Today named One of the Top 10 New Events of The Year, BTF is back for its second annual installment from September 27-29, 2024, across The Wharf’s venues with performances and events at The Anthem, Pearl Street Warehouse and more.

A spinoff of the American Black Film Festival, BTF aims to propel a new generation of stand-up comedians to stardom and showcase content in the comedy genre that features people of color. In 2023, the BTF festival garnered a tremendous response, drawing more than 5,200 attendees and 1,000 submissions for the showpiece “Breakout Comedian of the Year” competition. Last year’s winner, Alfred Kainga, was signed by Innovative Arts talent agency and is currently on a national tour. The event also included notable talent such as Tommy Davidson, Yvonne Orji, DC Young Fly, Donnell Rawlings and Nicole Byer.

“After witnessing the tremendous success of last year’s festival, we’re inspired to adopt a more community-centric approach,” said Jeff Friday, founder of NICE CROWD and visionary behind BTF. “We are excited to continue our relationship with Events DC and honored to enrich this year’s festival with a local charitable aspect deepening our engagement with the community that surrounds and uplifts us.”

“I am absolutely thrilled to welcome the Because They’re Funny Comedy Festival back home to Washington, D.C., the best city in the world for entertainment, culture, and more,” said Events DC President and CEO Angie M. Gates. “The inaugural festival was a tremendous success and became one of the top 10 new festivals of 2023. This year, I am excited to build upon that success and showcase the best comedic talent within the BIPOC community to residents and visitors from across the country.”

New this year, the 2024 festival kicks off with the “Comedy Cares for DC” event, a VIP showcase and charity roast. This event underscores BTF’s mission to deploy comedy as a force for good.

Over three days, BTF will showcase a dynamic array of talent with headline acts, rising standup comedy stars, master classes, lively panels, networking opportunities and BTF’s flagship “Breakout Comedian of the Year” competition, offering a life-changing $10,000 grand prize and the opportunity for the winner to secure representation by a top Hollywood talent agency.

The call for submissions is now open to comedians across the nation and passes are currently available for purchase. Headliners and comedy lineup to be announced early this summer.

2024 BTF partners and sponsors to date are the presenting partner Events DC, and programming partners DC Improv and LAFF MOBB.

To learn more, please visit www.becausetheyrefunny.com.

About NICE CROWD

NICE CROWD is a pioneering entertainment company at the forefront of the live events industry. Its passion lies in curating and promoting immersive festivals and live experiences that celebrate the rich diversity of BIPOC talent. By spotlighting exceptional artists and cultural innovators, the company aims to create vibrant and inclusive spaces that resonate with audiences globally.

To learn more about NICE CROWD, visit www.nicecrowd.com.

About Events DC

Events DC, the official convention and sports authority for Washington, D.C., delivers premier event services and flexible venues across the nation’s capital. Leveraging the power of a world-class destination and creating amazing attendee experiences, Events DC generates economic and community benefits through the attraction and promotion of business, athletic, entertainment and cultural activities. Events DC oversees the LEED Gold-certified Walter E. Washington Convention Center, an anchor of the District’s hospitality and tourism economy and the historic Carnegie Library at Mt. Vernon Square. Events DC manages the RFK Stadium-Armory Campus (RFK Campus), including Robert F. Kennedy Memorial Stadium, Festival Grounds at RFK Campus, The Fields at RFK, the non-military functions of the DC Armory and the Skate Park at RFK Stadium. Events DC also built and serves as landlord for Nationals Park, the first LEED-certified major professional sports stadium in the United States. Events DC manages Gateway DC, R.I.S.E. Demonstration Center and Entertainment & Sports Arena all conveniently located in the Congress Heights neighborhood of Washington, D.C.. For more information, please visit www.eventsdc.com and find us on social media – Facebook, Instagram and YouTube (Events DC), and Twitter (@TheEventsDC) — and on our new hub for on-demand event programming on GATHER by Events DC at www.gatherbyeventsdc.com.

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By Mekhi Abbott
Special to the AFRO
mabbott@afro.com

It was an otherwise ordinary day in New York City when a chance meeting changed the trajectory of Jean Baylor’s life forever. The singer was in search of a drummer for a showcase in which she was scheduled to perform when she crossed paths with musician Marcus Baylor. What would result from that connection was something neither her nor her future husband would have expected. 

“We met on a Tuesday afternoon in front of the legendary jazz club, The Blue Note in New York City…. I remember he was walking down the street and he gave an unhoused gentleman some money, and I was like ‘Oh, that was really nice.’ But he admitted a couple months later that he saw me looking and that is when he took the money out,” said Baylor. 

Jean and Marcus Baylor now have a fruitful marriage and sonic connection that has resulted in them receiving critical acclaim and a myriad of awards. But it is their love and affinity for music that has been the foundation for their partnership in life and their profession. 

Love

If you ask most people, they would advise you not to mix business with pleasure. The Baylors, however, have been able to blend their marriage and musical vocations to create The Baylor Project — a seven-time Grammy-nominated and NAACP Image Award-winning musical duo. 

“Music brought us together,” said Jean Baylor. 

Prior to the inception of The Baylor Project, both Jean and Marcus were working musicians in groups that had already seen great success. Marcus Baylor was formerly a drummer for the Grammy Award-winning band The Yellowjackets. Jean Baylor was one-half of the platinum-selling R&B duo, Zhané. 

Jean Baylor, a New Jersey native and Temple University graduate, can thank fellow Northeastern native and musician Orrin Evans for connecting her with the man who would go on to become her husband and business partner. 

“I was doing a showcase for ASCAP , and I needed a drummer. Orrin Evans, a good friend of ours, was on the gig… So I told Orrin that I need a drummer and he’s like ‘Yo, I just ran into my boy, Marcus Baylor. He used to play for The Yellowjackets.’ So I paged him,” said Jean Baylor. 

It was not long before the professional connection blossomed into a romantic relationship between the two musicians, who have now been married for 22 years. 

“There was a vibe from the first time we met,” said Jean Baylor. “But Eric Robertson (rapper and songwriter) told me during the actual showcase that he thought he saw fall in love from the way he looked at me.”

 Partnership

Balancing both their marriage and their creative partnership has led to some bumps in the road, but Marcus and Jean Baylor have done a good job juggling both.

“It’s chemistry,” said Marcus Baylor. “I’m a sports guy, so of course you have your ups and downs. You have your disagreements. But at the same time, there’s nothing like doing music with your best friend.”

In fact, both Marcus and Jean Baylor use their background in athletics to push each other and it allows them to engage in friendly competition. Jean Baylor was a Division 1 lacrosse player at Temple and Marcus grew up playing basketball. 

“Everything with him is a sports analogy. We’ll be talking about business strategies and he’ll be like, ‘You see, when Kobe was on the Lakers…,’” said Jean Baylor. “But definitely requires space. It requires understanding each other’s strengths and weaknesses and how to kind of supplement those things. He’s like a visionary…. He’s a marketing guy and that’s his space. I’m like the art director. I handle more of the administrative stuff.”

One of the things the Baylors admittedly struggle with, however, is knowing when to detach themselves from work. 

“When you’re a business owner—like we run our own label and do everything independently—a lot of times it could be hard to find balance because you’re steadily pushing to get to the next level,” said Marcus Baylor. “There’s a lesson learned every day. There always new goals.”

Music

If you look at how accomplished The Baylor Project is today, you would likely be shocked to hear that the duo almost never came to fruition. 

“I came out the shower and I said, ‘Hey, we should start this band called The Baylor Project. In jazz, you know, just getting back to that style.’ But she said that it was a dumb idea,” said Marcus Baylor. 

The Baylor Project is more than just a jazz duo, though; they are soul, they make gospel music and they received their third Grammy nomination for Best Traditional R&B after releasing their single “Sit on Down.” 

In March, The Baylor Project got the opportunity to perform at the Library of Congress. Curated by music specialist and concert producer Claudia Morales, the sold-out performance received a warm reception from the Washington crowd. 

“When I curated this series, I looked for different jazz styles, different segments of what jazz is supposed to be. When I booked the Baylors, I really loved their uniqueness. They include jazz, they include gospel. They represent the Black experience. It is not one segment or silo; it is so many things,” said Morales. “The audience really connected to truth, and that is a testament to their reach. Everything was in sync and everything was so meaningful.”

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By Ariyana Griffin 
Special to the AFRO

Howard University partnered with Spotify to host a listening session April 16 on the Washington, D.C. campus to highlight the launch of “1619: The College Edition” podcast,  in which students unpack what they have gleaned from their study of “The 1619 Project: A New Origin Story,” under the direction of its author, Pulitzer Prize winner, Emmy winner and investigative reporter Nikole Hannah-Jones.

Kristen Jarrett, Spotify’s lead on its equity, diversity and impact team and its NextGen program, explained that the collaboration between Spotify and Hannah-Jones flourished from an unsolicited email.  

“Believe it or not, it was a bit of a cold email to Professor Hannah-Jones to see if she was interested in collaborating, and she said yes. From there it was listening to her and what she was interested in doing with her students,” said Jarrett. “We allowed her to guide us in terms of what she wanted to do, and then it was working with her students, delivering equipment and providing guidance.  From there we were able to co-create this beautiful piece of content. I say co-create very loosely; her students really created this podcast and we were just happy to be a part of supporting the process.” 

Spotify’s program NextGen provides students with the resources and support they need to activate and grow podcast culture on campuses. In the past, the program has been on Spelman College’s campus as well as other universities such as New York University, the University of Pennsylvania and the University of Southern California. NextGen is supported by their Creator Equity Fund, which seeks to “uplift creators who have historically been underrepresented in the audio industry.”

At the April 16 event, Spotify also presented a $10,000 scholarship to sophomore journalism major Karys Hylton, one of the students who participated in the course and in the development of the podcast.

The course that Hannah-Jones teaches at Howard University, where she is the Knight Chair in Race and Journalism, is titled after her award-winning book, “The 1619 Project.” Students who take the course and study the material are required to write an essay taking a deep dive into history on a topic they pitch and get approved.

Those essays then were developed into the student-led podcast. Three episodes were produced by students working in groups under the topics, “Principles of Drip,” “Color Theory” and “Queer Seminar.” The series allowed Howard students to “apply their own unique lens to what they learned from studying the 1619 Project and make surprising, compelling and critical connections to the ways that slavery still impacts their lives and ours,” according to a description of the podcast.

Hannah-Jones shared that she was excited for the opportunity to partner with Spotify and give her students the opportunity to dig deeper into history and share what they’ve learned.

“The podcast is based on the basic formula of the ‘1619 Project,’ which is that slavery in its legacy is shaping our society in all of the ways that we don’t think about,” said Hannah-Jones. “I hope it leads us to ask more questions, to think deeper about the way we treat Black people, the way that we think Black Americans are, and that we have a better understanding of ourselves, and that people who aren’t Black have a better understanding of us.” 

She explained that most of the students had no previous script writing experience, but they all were dedicated to producing something the world could learn something from. 

“When they came into the podcasting course, most had never written a podcast script, had never done podcast production, had never actually done the type of reporting that I required,” said Hannah-Jones. “I made them interview scholars, I made them find archival clips. They had to produce ambient sound. There were elements that each podcast had to incorporate.” 

She said she believes each student walked away with new reporting skills and an ear for audio narrative. 

Zoe Cummings, a sophomore honors journalism major and Spanish minor, said when she saw the “1619”  course offering, she didn’t know what it was but she knew that she would learn and grow under Hannah- Jones. And, she took away an important lesson.. 

“I realized for the first time that I was learning how to be American,” she said. “I was learning how to hold my Blackness in one hand and my Americanness in another and understand that the two things aren’t that different. And professor Jones gave me that.”

Cummings, who produced the “Principles of Drip” episode, shared that the episode was important because she originally wrote the essay it was curated from. “Drip,” in urban vernacular, refers to something or someone that is “cool,” is stylish or has a high element of “swag.” It is a quality she strongly associates with her D.C.-based campus and HBCU students in general, she said.

“When it was time to create this into a podcast we had to bring it to the yard; we had to bring it to Howard Homecoming; we had to bring it to y’all,” said Cummings. “I don’t know about y’all, but I have never seen anyone more ‘drippy’ than a Howard University student.”

Jacob Smith, a junior television and film major with a minor in theatre arts stage management, worked on “Color Theory” as an editor. The episode takes a look at colorism in the Black community and its roots.

 “What we really wanted to do was dive into the innate biases that even probably some at this school had, and talk about how those biases and those beliefs, this ideology comes from an institution of White supremacy and slavery all throughout,” said Smith.

“Queer Seminar,” produced by Trinity Webster-Bass, a junior honors podcast journalism major and Afro-American studies minor,  is a combination of two essays: one based on discrimination against queer individuals and how it dates back to slavery; and the other on the origins of ballroom culture. The podcast highlights O’Shea Sibley, a 28-year-old queer man who was murdered after performing “voguing” – a highly stylized dance which grew out of the 1960s Harlem ballroom scene, in which dancers mimic fashion models’ poses – at a Brooklyn gas station. The students were able to interview and feature one of his best friends, who was there that tragic night. Through the trauma that lies within the community, the podcast and students also wanted to highlight its beauty.

“We wanted to show all the creativity, all the love, all the passion that exists within the Black queer community,” said Webster-Bass. 

Hannah-Jones expressed that she was so excited to be able to provide resources like this to her students. 

“This is why I came to a place like Howard to be able to work with students and help them get these types of resources,” she said.

“The NextGen partnership with Spotify is so important because we know that HBCUs have no lack of talent, no lack of ambition, no lack of brilliance. These students are some of the hardest working students in America,” added Hannah-Jones. “What they often lack is resources. They’re often overlooked. They don’t often have this—the type of connections to corporations. They don’t have the type of dollars to be able to, for instance, create a podcasting lab on campus or to have access to those types of courses.”

The event allowed the audience to hear some clips from the episodes as well as hear from the students and their creative process. Spotify gifted everyone who attended bluetooth mics to help support those who are interested or want to get into audio or content creation. 

Spotify NextGen is looking forward to continuing the expansion of  the program across more HBCU campuses in the future. Listeners can find the podcast on Spotify by creating a free account and searching for “1619: The College Edition.”

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By Zsana Hoskins
Special to the AFRO

Siraaj Woods Creatives (SWC), a local social media agency, and Kigenix Creative, a photography brand that specializes in health and wellness visual content, recently hosted their fourth networking event for entrepreneurs and content creators in the DMV area.

The event, which focused on niche marketing, was held at The Link in Alexandria, Va., and included a panel that was recorded as a live podcast. 

The first event of this series was hosted by Kigenix Creative this past summer and had nearly 10 guests. SWC joined to host the second one and attendance has been doubling ever since with 40 people. 

“The original goal behind this was to bring all the very talented entrepreneurs and content creators under one roof and have a space for them to be creative and connect with each other. We realize there are so many people who are on their own and don’t have community, and we wanted to bring that to the DMV,” said Siraaj Woods, CEO of SWC.

According to a 2024 study from Lending Tree, Washington, D.C. is the city with the second most Black-owned businesses at 7.6 percent, and Richmond, Va. placed eighth with 5.6 percent. 

Also, according to data from Zippia, only 7.2 percent of content creators are Black. 

Woods and Wood highlighted the importance of an event like this, especially for Black entrepreneurs and content creators.

Woods explains, “This is really a need within our community to have somewhere where people like us that are, young aspiring entrepreneurs and content creators, come under one roof and kind of congregate and build that community and start to know each other,”

For the hosts, it was also important to provide resources for content creators and entrepreneurs to take their businesses to the next level. Founder and creative director of Kigenix Creative, Kiana Wood, said she wanted these events to help “bridge the gaps.” 

“Entrepreneurs don’t really know how to create content all the time, it’s kind of a stressing force in their business. And then vice versa. A lot of content creators are trying to figure out how they can make money with it, which is then a business, and they don’t necessarily understand the business side,” she added.

Panelists for the live podcast included several business owners and content creators such as Kendall Cherry, owner of CHERRYPOP, an event and artist development company, and Julia Shardae, a brand marketing specialist for Redbull and founder of a marketing agency, Black Women In Marketing. 

Panelists shared advice for the attendees to incorporate into their own content and elevate as creators. 

One of the panelists of the event, Gigi Beason, a digital marketing consultant with her brand Diamonds N The Rough, spoke about focusing less on going viral and more on value.

“If you focus on the value, you will eventually gain the numbers, and you’ll become known for being someone who offers something that people really need,” Beason shared.

Another key insight from the panel was from Yonathan Shimelis, a photographer and creative, who reassured attendees to start with what they have and work their way up, which seemed to be embraced by the crowd.

“He talked about just being able to make it work with what you have. You don’t have to have expensive technology to get started. And I saw that, a lot of creators resonated with that because they were like, ‘Okay, that’s really good. I don’t need a thousand-dollar camera,’” Beason said about Shemelis’ advice.

After the panel discussion, a question and answer session was held where attendees could ask questions and speak to each panelist one-on-one.

The event also included raffles, a scavenger hunt and other interactive activities for participants.

Overall, Woods, Wood and Beason believe the event was successful based on the attendees’ reactions and the increased participation.

Wood expressed based on feedback she received from attendees. Beason felt that the energy from Woods and Wood as hosts also contributed to the “welcoming” atmosphere at the event.

“ really know how to set the tone for the audience in a way where it draws people in, and they’re able to come and get comfortable, and you find that it’s such a warm audience. You just feel the support the entire night,” said Beason.

Woods and Wood also believe the interactive environment of the event is what sets them apart from similar experiences.

“When you come to this event, you’re not leaving empty-handed. You’re leaving with at least a connection that you’re gonna partner with,” Wood shared.

As far as new initiatives and events, Woods says there are definitely “more events to come” in the future. The next event in the series will most likely be in May or June.

Throughout the year, SWC and Kigenix will be working on feeling the connections behind the events and creating more of a networking community.

“We’re gonna reach out to people and also kind of get feedback and kind of see what they want. People tend to struggle with, ‘Okay, I have a business  or I wanna start a business, but how do I make content?’ We’re giving them the information to let them know how to best do that for themselves. So that’s where we’re headed,” Woods said.
To learn more about SWC, Kigenix Creative, and upcoming events, visit https://swcreatives.com or https://www.createwithki.com/.

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By Ericka Alston Buck,
Special to the AFRO

Amidst a whirlwind of controversy and legal battles, music mogul Sean “Diddy” Combs and his son, Christian Combs, now find themselves entangled in a new web of allegations, lawsuits and federal investigations.

Recent events have cast a harsh spotlight on the Combs family, with federal Homeland Security Investigations agents executing searches on two of Sean Combs’ properties in Los Angeles and Miami on March 25. Sources familiar with the matter indicate that these searches are part of a broader sex trafficking investigation, led by federal authorities in New York. The involvement of the Department of Homeland Security suggests a deepening probe into allegations of criminal activity surrounding Combs.

“This is a significant development,” remarked attorney Chambord Benton-Hayes, of Benton Employment Law. “The Department of Homeland Security must have spent a significant amount of time investigating this case before launching such massive raids on Diddy’s properties. The fact that it has gotten to this point is a bad omen for Diddy– even though he is innocent until proven guilty.”

Indeed, Combs has been facing a torrent of accusations, ranging from sexual assault to sex trafficking. The latest lawsuit, filed by Grace O’Marcaigh in Los Angeles County Superior Court, alleges that Christian Combs sexually assaulted her aboard a chartered yacht in late 2022. It’s reported that the incident occurred amidst a backdrop of rampant partying and drug use.

“The situation paints a disturbing picture,” Benton-Hayes remarked. “It often takes victims of sexual abuse or harassment a lot of time to gather their courage to sue powerful people. After one victim sues, it often opens the floodgates for others.”

Christian Combs’ alleged misconduct adds to the mounting legal woes facing the Combs family. Sean Combs himself has been the subject of multiple lawsuits, including one filed by his former protege and romantic partner, R&B singer Cassie, alleging years of sexual abuse. The settlement of Cassie’s lawsuit underscores the complex legal terrain Combs navigates.

“The criminal case may bring to light exactly what Cassie Ventura experienced,” Benton-Hayes noted. “From my experience conducting workplace investigations, I know that the standard approach is for investigators to start with one witness who experienced or saw something and to learn from that person who else would have seen what occurred. Some individuals will be unwilling to talk, others will be all too willing to talk.”

As the investigations continue and legal proceedings unfold, the ramifications for Combs and the broader entertainment industry remain uncertain. Yet, amidst the turmoil, there is a growing imperative for accountability and transparency within the industry.

“As allegations continue to surface, Diddy can likely expect to see more individuals from his past filing lawsuits against him,” Benton-Hayes concluded. “The ongoing scrutiny highlights the imperative of addressing allegations of misconduct within the industry.”

The allegations against Combs reverberate beyond the realm of entertainment, prompting broader discussions about power dynamics, accountability and systemic issues within the industry. With the #MeToo movement shining a spotlight on sexual misconduct, high-profile figures like Combs face heightened scrutiny and calls for accountability.

Moreover, the involvement of federal authorities underscores the seriousness of the allegations and the potential legal ramifications. As investigators delve deeper into the allegations, the scope of the investigation may widen, implicating additional individuals and shedding light on systemic issues within the entertainment industry.

In the face of mounting legal challenges and public scrutiny, Combs and his legal team maintain their innocence, vehemently denying all allegations of wrongdoing. However, Benton-Hayes adds “ as the legal battles unfold and the investigations progress, the truth may come to light, reshaping the landscape of the entertainment industry and redefining notions of accountability and justice.”

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By The Associated Press

NEW YORK (AP) — Faith Ringgold, an award-winning author and artist who broke down barriers for Black female artists and became famous for her richly colored and detailed quilts combining painting, textiles and storytelling, has died. She was 93.

The artist’s assistant, Grace Matthews, told The Associated Press that Ringgold died the night of April 12 at her home in Englewood, New Jersey. Matthews said Ringgold had been in failing health.

Ringgold’s highly personal works of art can be found in private and public collections around the country and beyond, from the Smithsonian’s National Museum of American Art to New York’s Museum of Modern Art and Atlanta’s High Museum of Fine Art. But her rise to prominence as a Black artist wasn’t easy in an art world dominated by White males and in a political culture where Black men were the leading voices for civil rights. A founder in 1971 of the Where We At artists collective for Black women, Ringgold became a social activist, frequently protesting the lack of representation of Black and female artists in American museums.

“I became a feminist out of disgust for the manner in which women were marginalized in the art world,” she told The New York Times in 2019. “I began to incorporate this perspective into my work, with a particular focus on Black women as slaves and their sexual exploitation.”

In her first illustrated children’s book, “Tar Beach,” the spirited heroine takes flight over the George Washington Bridge. The story symbolized women’s self-realization and freedom to confront “this huge masculine icon — the bridge,” she explained.

The story is based on her narrative quilt of the same name now in the permanent collection of the Solomon R. Guggenheim Museum in New York.

While her works often deal with issues of race and gender, their folk-like style is vibrant, optimistic and lighthearted and often reminiscent of her warm memories of her life in Harlem.

Ringgold introduced quilting into her work in the 1970s after seeing brocaded Tibetan paintings called thangkas. They inspired her to create patchwork fabric borders, or frames, with handwritten narrative around her canvas acrylic paintings. For her 1982 story quilt, “Who’s Afraid of Aunt Jemina,” Ringgold confronted the struggles of women by undermining the Black “mammy” stereotype and telling the story of a successful African American businesswoman called Jemima Blakey.

“Aunt Jemima conveys the same negative connotation as Uncle Tom, simply because of her looks,” she told The New York Times in a 1990 interview.

Soon after, Ringgold produced a series of 12 quilt paintings titled “The French Collection,” again weaving narrative, biographical and African American cultural references and Western art.

One of the works in the series, “Dancing at the Louvre,” depicts Ringgold’s daughters dancing in the Paris museum, seemingly oblivious to the “Mona Lisa” and other European masterpieces on the walls. In other works in the series Ringgold depicts giants of Black culture like poet Langston Hughes alongside Pablo Picasso and other European masters.

Among her socially conscious works is a three-panel “9/11 Peace Story Quilt” that Ringgold designed and constructed in collaboration with New York City students for the 10th anniversary of the Sept. 11 attacks. Each of the panels contains 12 squares with pictures and words that address the question “what will you do for peace?” It was exhibited at the Metropolitan Museum of Art in New York.

In 2014, her “Groovin High,” a depiction of a crowded energetic dance hall evocative of Harlem’s famous Savoy Ballroom, was featured on a billboard along New York City’s High Line park.

Ringgold also created a number of public works. “People Portraits,” comprising 52 individual glass mosaics representing figures in sports, performance and music, adorns the Los Angeles Civic Center subway station. “Flying Home: Harlem Heroes and Heroines” are two mosaic murals in a Harlem subway station that feature figures like Dinah Washington, Sugar Ray Robinson and Malcolm X.

In one of her recent books, “Harlem Renaissance Party,” Ringgold introduces young readers to Hughes and other Black artists of the 1920s. Other children’s books have featured Rosa Parks, the Rev. Martin Luther King Jr. and the Underground Railroad.

Born in Harlem in 1930, Ringgold was the daughter of a seamstress and dress designer with whom she collaborated often. She attended City College of New York where she earned bachelor and master’s degrees in art. She was a professor of art at the University of California in San Diego from 1987 until 2002.

Ringgold’s motto, posted on her website, states: “If one can, anyone can, all you gotta do is try.”

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By Helen Bezuneh
Special to the AFRO 

It was the night before diversity consultant Verna Myers’ eighth birthday when the assassination of the Rev. Martin Luther King Jr. rocked her hometown of Baltimore, leaving it in turmoil. Born and raised in the city, she had never witnessed such profound sadness and literal flames of protest engulfing her community. 

“My dad was crying,” she told the AFRO. “It was at that moment – maybe it was throughout that period – but I remember thinking, ‘I’m going to be the person that Martin Luther King fought for.’ I understood the sacrifice that had been made for me, so I wanted to make good on the dream.”

Since then, Myers has made it her mission to ensure that Dr. King’s wisdom continues to resonate through her work. As the founder of The Verna Myers Co. (TVMC), she has leveraged her upbringing to establish herself as a powerhouse in the arena of diversity, equity and inclusion. 

Having previously served as Netflix’s vice president of inclusion strategy, she has made a substantial impact on the ways in which people approach the work of DEI. Through TVMC, Myers advises corporations and universities, offers DEI online training courses and does keynote speeches, spreading the message about the best ways to incorporate inclusion within every aspect of our lives.

“We started off by helping people recognize that there needs to be a strategy rather than just having events and even having training,” she said. “We started to do cultural assessments. What are people experiencing, what are the strengths, where are the areas that need more shoring up and change?

“We did a lot of strategic planning, assessments and we did an enormous amount of training, we call them workshops,” she added. “What we discovered was that there were a lot of people who morally have this idea that they want to be equal and yet they aren’t aware of all the ways in which they may be creating an exclusive environment.”

Before Myers started TVMC, she worked as a Harvard-trained lawyer, driven by her dedication to civil rights. She wanted to ensure that equality was extended to all–especially Black people, women, and the like.

“I got to law school and realized that often the law is the tool of folks who are already in power and already dominant and already actually responsible for creating unfair structures and systems within our society. So that was a bit of a blow,” she said of that experience. She added, “While it’s also true that lawyers are extremely important in winning rights and changing laws, more of what I saw in law school was men, especially, figuring out ways to manipulate the law so that it ultimately kept them in power.” 

Myers went on to practice at a predominantly White law firm in Boston. Eventually, however, she realized she could do more impactful, equity-driven work elsewhere. As she began to consider what her calling was, she became involved in a minority-owned law firm, which ended up being an incredibly enriching experience. 

Through the experience, she became passionate about advocating for more representation of Black lawyers in Boston law firms, particularly given Boston’s reputation as a city inhospitable to Black folks. This drive led her to assume the role of executive director of an organization focused on addressing the shortage of lawyers of color, a group now known as the Boston Lawyers Group.

From there, the attorney general of Massachusetts invited Myers to develop a diversity practice within his office. Serving as his deputy chief of staff, she focused on crucial issues such as combatting sexual harassment and increasing the representation of lawyers of color.

“Of the things that I did, a lot of it was focused on diversity and on creating environments where people of different backgrounds can thrive,” she said. “It was also about reaching out to the larger public from all sorts of diverse communities for them to actually recognize that the attorney general was a place where they could come and get protection and have the laws actually work for them.”

After a period of reflection, Myers came to the realization that she wanted to be her own boss and work independently. Motivated by this aspiration, she founded TVMC.

“I set out to create my own diversity consulting practice because I could see that in every organization, there needed to be a specific strategy for how that organization was going to not only bring in people who had been historically excluded, but actually create a kind of environment that would allow those people to succeed,” she said, later adding, “I wanted to talk more with leaders about what it looks like to create an environment that was conducive to the success of women and people of color –– at the time those were the groups that we really focused on.”

In 2018, Myers took on the inaugural role of vice president of inclusion strategy at Netflix. She was able to host in-person workshops, have intimate conversations with vice presidents at the company and get everyone on the same page about Netflix’s developing approach to DEI. 

“It is such an incredible place that is very motivated by the culture of curiosity and the culture of feedback, and all of these things serve DEI very well,” she said about Netflix. “It’s also a culture of being direct, a culture that invites dissent, a culture that asks leaders to account for their behavior or to actually be aware when they make mistakes. It’s a very humble culture, too.”

She then introduced the idea of having an “inclusive lens” to Netflix, encouraging people to think about inclusion within every part of their work –– even when the diversity and inclusion team is not in the room. She encouraged folks to not only think about how they speak to their team, but also about how their content reflects their commitments. 

“Who’s represented, who’s not represented in our content?” she said. “Who’s directing? Who’s writing? Who’s acting? How authentic is the story we’re telling? But on the tech side, we were also asking people, how can people access our service? Can people who are deaf actually enjoy our service? Can people who are blind actually take advantage of our service?”

Myers ultimately left her role with Netflix in 2023, returning to her work with TVMC. 

“When I first entered Netflix, they were so kind but I said, ‘You know, I have my own business, I really love what I’m doing, I don’t know if I wanna come,’” she said. “And they were like, ‘But you’re going to really help us, we really need this, we’re trying to entertain the world and we need to have the skills to do that.’ So they convinced me. But I was never planning to stay for a long time and they knew that.”

Myers has authored her own books, including “What If I Say the Wrong Thing? 25 Habits for Culturally Effective People” and “Moving Diversity Forward: How to Go from Well-Meaning to Well-Doing.”

As she moves forward, she aims to emphasize that the work of DEI begins first and foremost with oneself.

“One of the things that I really want to talk about is the importance of spiritual tools,” she said. “So much about being a person who can help DEI move forward starts first within us, which means that we need to be compassionate to ourselves and to others. We need to show grace to ourselves and others. We need to learn how to forgive, to repair often and regenerate. I want to talk about those and integrate those in the work that I’m doing.”

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Dear AFRO readers,

I hope this memo finds you well and warmly welcomes you to turn each page filled with carefully curated stories. Each week the AFRO shares a collection of stories in hopes of helping you make well informed decisions for yourself, members of your family and extended loved ones. For nearly 132 years, the AFRO has published weekly, weighing in on the most trying circumstances of our time, while yielding its cover to the unimaginable achievements of Black leaders across the country. It has been an honor to serve as AFRO assistant editor. I look back with gratitude, even as I move on to other endeavors. 

It is faith that has brought this crucial entity to the forefront of newsstands and newsrooms each week. It is hope that has led innovators, thought makers and gamechangers to escape the modern clamor of denial to a path of documenting trying truths through storytelling and investigative journalism. I believe it was fate that steered me to this organization, conviction that has kept me and courage that allowed me to act when God revealed his calling for my life.

Over the past year, I have grown exponentially, connected with our global audience and took a chance at developing a natural gift. I am forever thankful for the life lessons instilled in me by AFRO CEO Dr. Frances Draper, Vice President of Marketing and Technology, Kevin Peck, and Digital Solutions Director Dana Peck. I’ve had the help of mentors within the company like Executive Director Lenora Howeze, Editorial Assistant Ama Brown and Finance Officer Bonnie Deanes.

However, none of this would have been possible without Managing Editor Alexis Taylor who saw the potential for greatness in me. Her guidance over the span of the last 12 months has been an essential asset that has helped me not only fulfill but further my goals and aspirations. Under her leadership, the AFRO has and will continue to thrive. 

Last but not least, I would like to thank every subscriber, viewer and supporter. The relationship between writer and reader at this publication is a unique and treasured bond that I know cannot be found anywhere else. 

As my tenure with the AFRO comes to a close, I will use John Murphy Sr.’s words as I chart a course for my own legacy.

“A newspaper succeeds because its management believes in itself, in God and in the present generation.”

Sincerely,

Ashleigh Fields, AFRO Assistant Editor

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