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. 

The post Folger Theatre revives Shakespeare’s ‘Romeo and Juliet’ with a broad stroke of diversity   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.

The post PRESS ROOM: Nickelodeon lets kids’ voices be heard election season with return of Kids Pick the President ‘Kids’ Vote’ poll and brand-new special appeared first on AFRO American Newspapers.

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

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By Johnathan Landrum Jr. and Hillel Italie
The Associated Press

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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By 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.

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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 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 Milbert O. Brown Jr.
Special to the AFRO

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

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

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

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

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By Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

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

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

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

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

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

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

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

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

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

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

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

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By 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 Reginald Williams
Special to the AFRO

The days of adolescent boys romping outside in the dirt, chasing insects, and cozying up with toads appear to be a play passion of the past. Instead of exploring nature, many of today’s youths are more interested in and consumed by video gaming. But in this tech-obsessed age, Elijah Mackey might be the proverbial dinosaur.

Elijah loves turtles. He loves talking about them, and he loves caring for them. Elijah is the proud parent of seven turtles. Bowser was his first and Tank is the newest addition to the family. Elijah hopes one day to own a 300-pound pond to house all his turtles, including those he doesn’t have just yet.

“This boy right here, he loves turtles so much that if he had 200,046 turtles, he’ll always want another one,” said Nasir, Elijah’s 8-year-old brother.

The Hampton, Virginia native has immortalized this passion for turtles in his debut book, “Turtle Tales: Discovering The Watery World of Terrapins.” He penned the non-fiction read for youth ages 5 to 12 to support their learning about the native species of turtles in America. 

The young author will travel to Orlando, Florida,  Oct. 4-6 to speak about turtles at the AnimalCon USA conference. AnimalCon USA allows animal lovers to meet and talk with their favorite animal influencers and content curators. Elijah will be a panelist at the annual symposium, where he will showcase and discuss his book.

“I feel very excited about getting the opportunity to speak ,” Elijah shared with a surreal calmness. “I’m going to say some pretty cool stuff about turtles.”

Despite Elijah’s tranquility in expressing his happiness, Jara Clark, Elijah’s mom, shared how quietly excited he was when he realized she was coyly informing him of AnimalCon’s decision to select him  as a panelist. 

“When I told him, I caught him off guard,” shared Clark. “I had him on tape trying to get his natural reaction—the boy is so cool. But the moment of realization his face softened and there was just pure excitement. The way he lit up are the moments that I live for.”

The visit to Orlando will be the 7th-grader’s first, but he has no interest in visiting Disney World or Universal Studios, the city’s major attractions. Instead, Elijah wants to see alligators, iguanas and more turtles. 

Elijah’s love for turtles—the red-eared slider is his favorite—was born about three years ago when he accepted the care of a friend’s unwanted pet turtle.

“My first turtle is Bowser. He’s outside in the pond right now,” said the teen.

Elijah’s commitment to turtles extends beyond just caring for his own. He dedicates much of his time to volunteering. The Virginia Living Museum, “an open-air museum located in Newport News, Virginia that has many living exhibits of Virginia’s indigenous species,” is credited with being Elijah’s second home. He also volunteers at the Bunny Hutch Boutique, an exotic animal rescue shelter based in Virginia Beach, where Elijah provides exotic animal care. 

According to Clark, Elijah has always demonstrated a proclivity for aquatic animals. One of his pastimes is fishing. He owned his first fish, Strawberry Happy Fish, at age 2. Clark, recognizing his passion, wanted to support it. She suggested doing research to support his understanding of his interest.  

“I said, ‘Let’s go to the library and look up what you think you love about this and see what it is,'” explained Clark. “We came up with marine biology might be where he was headed. But since then, it’s grown into orthology or zoology, but now we’ve rounded his love out to biology.”

Clark, a self-described “nature girl,” lives vicariously through her son. Clark is joyful of Elijah’s enthusiasm for terrapins.  

“Because so many young men get pigeonholed into sports, I was like, ‘Do anything else. You can do sports too if that’s what you want, but do something intellectual first. Let’s lean all the way into that,’” said Clark. 

“Childhood is so very important because they don’t have control over their experiences. It’s very limited to what they can create on their own,” she continued.  “So, it’s been my job to be the genie, , ‘What do you need? How can I help you get where you are trying to go?’”

When Elijah presents at AnimalCon, it won’t be his first time speaking before large audiences. According to Alasha Bennett, founder of the Bennett Center, a non-profit youth entrepreneur program, Elijah has spoken before City Council and the public school administration. 

Elijah’s “Turtle Tales” is available at Amazon. 

You can support the author, speaker, entrepreneur and aquatic animal enthusiast by visiting:   https://www.zeffy.com/ticketing/8ce74270-c461-478f-87e5-406d918f2e64.

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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 Ariyana Griffin
AFRO Staff Writer
agriffin@afro.com

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

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

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

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

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

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

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By Aria Brent
AFRO Staff Writer

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

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

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

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

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

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

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

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

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

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

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

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

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By Catherine Pugh
Special to the AFRO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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By 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.”

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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.

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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.

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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 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 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 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 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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‘MJ the Musical’ debuts at The National Theatre in Washington, D.C., on Aug. 14. 

By Kevin McNeir
Special to the AFRO

When the curtain rises at The National Theater in Washington, D.C., and the versatile Jamaal Fields-Green takes center stage, you may need to blink twice, given the brilliant way in which the actor portrays the late King of Pop, Michael Jackson. 

In fact, Fields-Green, an electrifying actor, singer, dancer, director and writer, takes total command of the stage and promises to bring audiences to their feet in the Tony Award-winning production of “MJ the Musical,” which runs Aug. 14 – Sept. 8. 

The musical centers on the making of the 1992 Dangerous World Tour, and offers a unique look at the creative mind and spirit of Michael Jackson, which catapulted the former lead singer of The Jackson Five into worldwide dominance in the entertainment industry. 

In an exclusive interview with The AFRO, Fields-Green – who has already solidified his reputation as a versatile actor, rendering stellar performances across several mediums – said his goal in this role is “to portray Michael Jackson authentically.” 

“Like millions of others, I grew up as a big fan of Michael Jackson. But after learning that I would have the unique opportunity of portraying him on stage, I knew I had a lot of homework to do,” Fields-Green said. 

The actor said he’s spent countless hours combing through footage and videos of the iconic Jackson – watching, listening and learning.  

“In preparing for this role, I’ve often felt like a kid in the candy store. Michael Jackson’s energy, his movement, the level of his performance are all simply brilliant,” he said. “I especially love the music and the artistry he delivered during the ‘Bad’ era but as I’ve done my research, I continue to discover new things about him. That’s been my greatest challenge – but certainly not the only hurdle I’ve had to overcome.

“Look, this is MJ – one of, if not the best to do it, so the stakes are very high. He’s like the ceiling. But whenever you think you’re almost within reach, the ceiling rises again. Still, there’s this joy for me because while I know I will never catch him, I can keep chasing him, chasing after the spirit, the energy, the amazing talent that made Michael Jackson a superstar,” Fields-Green said. 

The actor, who hails from New York and graduated with a bachelor’s degree in musical theater from the prestigious Hartt School (the performing arts conservatory of the University of Hartford, West Hartford, Connecticut) in 2018, has dreams that encompass more than just the stage, including writing and directing. He recently captured the award for Best Action Short at the highly competitive Indie Short Fest for his film, “The Inevitable.” For him, receiving the award confirmed that he has what it takes to be successful both in front of and behind the camera. 

However, he noted that as an actor in the industry today, one must be a true “triple threat.” 

“I grew up with a single mother who sacrificed a lot for me. She paid for me to go to private lessons and to school and to study musical theater,” he said. “So, I’ve always been focused on my career… on broadening my skills. 

“My teachers wanted me to take on prestigious roles that had made other Black actors famous. But I wanted to put my stamp on an Irish monologue and other similar roles. Versatility is the way to go these days if you really want to make it. By the time I became a senior in college, I had already been tested as an actor, a singer and a dancer. That’s what got me my first major break right out of school: a role in ‘Hamilton: An American Musical.’”

Fields-Green said he has big plans and things he wants to accomplish. But, for now, his focus is singular: being Michael Jackson to the best of his ability. 

“I realize that I am not Michael Jackson, but after preparing for this role I believe I understand him a lot better,” he said. “It takes sacrifice and discipline to get anywhere close to the level of his success and abilities. You have to give up things – fun times – that a lot of others take for granted. After my freshman year in college, I can’t remember ever attending a party with my friends and classmates. Since then, the only thing on my mind has been eating, breathing and sleeping my passion as an actor, singer, writer and director. 

“There have been a few other brothers who had this role before me, including Myles Frost – who won the Tony Award (2022) for his portrayal of MJ in the Broadway production of the show. But now, it’s my role; it’s my time. I want the EGOT (Emmy, Grammy, Oscar and Tony). So, that means I have work to do…a lot of work to do. 

“I owe it to myself to keep climbing and to my mother for supporting me each step of the way,” Fields-Green said. 

For more information or tickets, visit www.broadwayatthenational.com. 

NOTE: August brings other news about Michael Jackson, who would have been 66 years old on Aug. 29, had he lived. Spike Lee recently released a documentary, now available on Apple TV, that chronicles the making of Jackson’s fifth solo album, “Off the Wall” – his first with Epic Records after he and his brothers left Motown. The album debuted on Aug. 10, 1979. In addition, according to The Hollywood Reporter, Jaafar Jackson, the son of Jermaine Jackson, recently signed with CAA and will make his acting debut in the role of his late uncle in a biopic, “Michael,” slated for release by Lionsgate and Universal Pictures in April 2025. 

The post Multi-talented Jamaal Fields-Green stars as the ‘King of Pop’ appeared first on AFRO American Newspapers.

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 Lizzie Suber
AFRO Intern
lizziesuber@afro.com

Baltimore is gearing up for a jam-packed weekend of celebrating the arts. 

Artscape, America’s largest free outdoor arts festival, will celebrate its 40th year at different locations across Charm City. 

The festival will include events such as art exhibitions, youth focused programming and a vendor’s market with over 100 businesses and entrepreneurs expected. Local artists and legendary acts like Chaka Khan, Sheila E. and The Original Wailers are set to hit the stage during the three-day event, which will take place Aug. 2 – 4.

Each year, the Baltimore Office of Promotion and the Arts (BOPA) plans the event, with the help of a variety of different agencies and organizations.

“ been in existence since 1982 with the intent of celebrating art and culture in the city of Baltimore. My hope is this year we continue that legacy, as well as introduce some new approaches to what is generally considered to be art,” said Rachel Graham, CEO of BOPA. “We look to offer the opportunity for folks from outside the Baltimore area to get to know and appreciate the rich assortment of artists that practice here everyday in the city.”

The event will occur at four locations: the main stage, located on Cathedral St. at Mount Royal Ave.; the MICA stage on Mount Royal Ave. at Mosher St.; the Station North stage on Lafayette Ave. at MD Ave. and the North of North Stage on 20th St. at Charles St., each with unique programming.

Festival-goers will have no shortage of new artists to discover during the event. Participating creatives hail from a variety of mediums including fashion, dance, music, short film and visual art. Attendees will be able to support artists of all disciplines, while also learning about different art forms.

“One of the things we tried to do for Artscape this year was to start this process I call ‘the tearing of the veil’ that has always stood between our communities and access to the arts,” Graham said. “I think it’s important that when we get the opportunity to enjoy what is the country’s largest free arts festival we take advantage of that.”

Artscape is only one of many events in the D.C., Maryland and Virginia (DMV) area that helps spotlight the region’s artists and provide opportunities to network.

Artmageddon is a recurring attraction of the festival. During the event, artists face each other in a competition judged by the audience, allowing artists to forge connections with each other on a local level.

“The hidden agenda behind Artmageddon is to gather artists of all different mediums,” Bryan Robinson, one of Artmageddon’s hosts, said. “What we did with Artmageddon was give artists a platform to create and also engage with the community.”

BOPA chief of staff and Artscape talent producer, Jonathan Gilmore, shared that through Artscape, its organizers hope to relay the significance of art not only as a cultural phenomenon, but also in the everyday lives of ordinary people.

“We must have people continue to participate in art because art is life. Art is one of the biggest recorders of where we are as a civilization. It challenges us. It makes us think,”Gilmore said. “It forces us to look at things that we may not have ever noticed before. Something we could have seen as ugly, another eye could see as beauty and that forces us to re-look at what we’ve created in our minds.”

For a full schedule of events, addresses and other details about Artscape visit artscape.org.

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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 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 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 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.

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By Jonathan Landrum Jr. 
AP Entertainment Writer

BURBANK, Calif. (AP) — If Dionne Harmon never found an old script on New Edition’s biopic, the R&B group’s story might still be sitting on a shelf instead of becoming a highly-rated miniseries for BET.

Same can be said for other projects like “The Bobby Brown Story” and the Soul Train-inspired series “American Soul.” She might not have a household name, but she’s known in Hollywood for working on big projects and major events including the Oscars, Emmys and Golden Globes. Harmon has worked on multiple Super Bowl halftime shows, becoming the first Black woman to produce the show.

Next up, she’ll be a producer at the BET Awards on June 30 at 8 p.m. Eastern. The show will air live from the Peacock Theater in Los Angeles.

The Emmy winner is one of the few Black women to hold a top position in the entertainment industry. She is president of Jesse Collins Entertainment, one of television’s most requested production companies. Harmon reports directly to CEO Jesse Collins, who is her fiancé.

“I’ve been grinding to build my toolbox just to be ready for these moments,” said Harmon, a Harvard University graduate who has worked at JCE since 2012.

She started at JCE as an assistant, a position she was reluctant to take until Collins introduced her to other employees who had gradually risen into high-ranking positions at the company.

Harmon accepted the job. Collins guaranteed he’d teach her everything he knew about the business, allowing her to shadow him in meetings and on phone calls.

“This is a place where you put your roots in and they grow,” she said. “On the surface, it looked like a step backwards. I had to talk down my ego, which didn’t want me to take that step. … But this was the best decision I’ve ever made.”

Harmon’s big break came through the 2017 project “The New Edition Story.”

After seeing the tremendous success of TLC’s biopic “CrazySexyCool: The TLC Story” in 2013, she realized there were more opportunities to explore.

Harmon found an old script about New Edition’s story written by Abdul Williams that had been sitting around for years, took it to Collins and convinced him to pitch the idea to Stephen Hill, BET’s president of programming at the time. The series became a massive hit on the network, but she didn’t receive producer credits.

However, Harmon did well enough to earn a promotion to director of development — without a staff — that resulted in more projects. She led the reworked format for “Hip Hop Squares” that evolved into the creation of three spin-off shows such as CMT’s “Nashville Squares,” BET’s “Celebrity Squares” and “Hollywood Squares” for CBS with Drew Barrymore. She also played a key role in the development and production of the critically acclaimed competition show “Rhythm + Flow” on Netflix, which has now expanded to France, Italy and Brazil.

Erykah Badu said Harmon was instrumental in her return for three consecutive years as host and producer of the Soul Train Awards starting in 2015. The singer called Harmon a “no-nonsense, deliberate producer.”

“With such an enigmatic work ethic, she reminds us that our best work is still inside us,” Badu said.

Under her leadership, Harmon helped JCE’s staff grow from 11 full-time employees to 25. She also spearheaded the company’s efforts to work directly with brands on content production on large-scale events with Nike, Ford, Pepsi and TikTok.

“She’s very passionate, creative and knows how to navigate a very complicated world known as Hollywood,” Collins said. “She really leads with integrity first. That has really helped her grow. Once you build a reputation of trust and you’re creative, all the doors open up for you.”

Harmon became one of the few Black women to co-produce the Oscars. And after co-executive producing the 2022 Super Bowl halftime show featuring Dr. Dre, Snoop Dogg, Mary J. Blige and others, she was elevated to president at JCE, overseeing creative strategy and financial growth.

Life is grand for Harmon both professionally and personally. Collins proposed to her last year. She said their relationship is a “perfect partnership” and that they both manage work-life balance well.

Harmon often thinks back to her decision to remove her ego and join JCE more than a decade ago. She would joke with her mom that if she married or met anybody, that it would be at the airport or work.

“It’s crazy how one decision can have an effect on every aspect of your life,” she said about when she interviewed at JCE. “I never in my wildest dreams. … It never crossed my mind that I would end up engaged. If someone told me that, I’d be like ‘Oh my God, what is wrong with you?'”

Harmon says Collins is “a great guy” — but at the start, he was just her boss.

“But over the course of working together and really becoming equals and moving together and building this company, it just opened the doors for something completely different.”

Harmon wants to keep building on her and JCE’s success. She wants to create more scripted shows and featured films and someday, produce the Olympics.

Collins sees directing in Harmon’s cards.

“Everything is possible for her,” he said. “But ultimately, she’ll probably end up directing at some point. She has a real eye for that type of detail.”

The post Dionne Harmon is making major moves in Hollywood as a producer. Next up: BET Awards on June 30 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/.

The post Juneteenth Exhibition: ‘Soon Come’ celebrates young artists as they reimagine the future appeared first on AFRO American Newspapers.

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.

The post Final Weeks for 50-Year Retrospective of Boundary-Breaking Artist Joyce J. Scott at BMA Joyce J. Scott: Walk a Mile in My Dreams closes on July 14 appeared first on AFRO American Newspapers.

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.”

The post Christian Cooper: From Central Park Karen’s target to Emmy-winning birdwatcher appeared first on AFRO American Newspapers.

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 Tierra Stone
AFRO Intern
tierrastone@afro.com

Juneteeenth is a time of celebration, recognizing the day that enslaved African Americans in Texas learned they were free. Though millions of slaves in Confederate territory had been freed on Jan. 1, 1863, slaves in Texas did not receive word of new law until June 19, 1865.

Now that Juneteenth is officially recognized as a federal holiday, people across D.C., Maryland, Virginia (DMV) and surrounding areas are taking time to celebrate with a series of different events to commemorate the occasion. This week, the AFRO compiled info on events set to take place throughout the week of Juneteenth. Take a look below to find an event that’s happening near you!

Baltimore

AFRO Juneteenth Breakfast 

This year, the AFRO will host its annual Juneteenth breakfast at the Center Club in downtown Baltimore under the theme, “Celebrating the Black Press.” Karsonya “Dr. Kaye” Wise Whitehead, Ph.D, will serve as keynote speaker for the celebration. This event will honor community leaders and a local media company for their ability to make change in the community. This year’s honorees are Dr. Benjamin Chavis Jr., Bobby Henry Sr., Thelma T. Daley, Ed. D. and the Root Branch Media Company. 

Date:  June 19

Time: 8 a.m. – 10 a.m. 

Location:The Center Club

   Legg Mason Building 

   100 Light Street #16 

   Baltimore MD, 21202 

Cost: $85 per person               

Please contact Diane Hocker at DHocker@afro.com  for ticket inquiries. 

In Celebration of Juneteenth

The Enoch Pratt Central Library will host a presentation about Juneteeenth with local historian Mr. Bradley Alston. Make sure to stick around for the question and answer session afterward.

Date:  June 18 

Time:  7 p.m.

Location: Enoch Pratt Central Library (Poe Room) 

                 400 Cathedral Street 

                 Baltimore MD, 21201 

Cost: Free 

Freedom’s Voices from Jubilee to Reparations

The Reginald F. Lewis Museum will host a mixture of events for the history, music and theater buffs in the family. The celebration will include a presentation about emancipation with documentary story quilter, Dr. Joan M. E. Gaither. The visitors will be able to create their own quilt square commemorating the day, and the event will also feature a musical performance by The Carter Singers, including monologues recited by local youth that were co-written by hip hop artist wordsmith, and lastly, a panel discussion with filmmaker John Comer. Refreshments will be provided first come, first serve.

Date: June 19

Time: 11 a.m. – 5 p.m. 

Location: The Reginald F. Lewis Museum

                  830 East Pratt Street 

                  Baltimore, MD 21202 

Cost:  Free

Washington D.C.  

Juneteenth Freedom Celebration 

What’s a better way to celebrate Juneteenth in the city of our nation’s capital and enjoy community day, that will be hosted by the Anacostia Community Museum. Attendees are asked to bring their own food and beverages, but open grilling is not allowed. The day also includes a lineup of musical performances by R&B singer Alex Vaughn, including other artists such as DuPont Brass, CuzzinB, Noochie and the Too Much Talent Band. All visitors are required to register online. 

Date: June 19 

Time: 10 a.m – 5 p.m. 

Location: Anacostia Community Museum 

                 1901 Fort Place SE

                 Washington D.C. 20020

Cost: Free 

Virginia 

Juneteenth Free Community Day

There’s always a good time to stop and smell the roses at the free community day event hosted at the Lewis Ginter Botanical Garden. There will be food sold at the Garden Cafe which has a variety of meals and will be open from 10a.m – 4p.m and the patio and grill will open from 5 p.m. – 7 p.m. The garden prohibits visitors from bringing sports gear, outside food and tobacco products. Don’t forget to dress comfortably and to stay hydrated throughout the day.  

Date:  June 19 

Time: 9 a.m. – 9 p.m. 

Location: Lewis Ginter Botanical Garden

                 1800 Lakeside Avenue 

                 Henrico, VA 23228 

Cost: Free 

Juneteenth Freedom Festival 

This event is perfect for the whole family with something for everyone through informational presentations, and musical performances by singer and songwriter Roberta Lea, Tank and the Bangas, and the Mosaic Steel Orchestra. There will be food trucks available. The event will be outside, make sure to wear comfortable clothing and remember to stay hydrated. 

Date:  June 22 

Time: 12 p.m. – 5 p.m. 

Location: Victory Landing Park 

                  50 26th Street 

                  Newport News, VA 23607

Cost: Free 

Juneteenth Celebration

The Carlyle House mansion will host a Juneteenth event with vendors, interactive activities, and poetic readings outside on the lawn. 

Date: June 19 

Time:  6 p.m. – 8 p.m

Location:   Carlyle House Historic Park 

                   121 North Fairfax Street 

                   Alexandria, VA 22314

Cost: Free 

Cecil County 

Fifth Annual Juneteenth Community Celebration

The Elkton Community center is hosting its fifth annual Juneteenth celebration and everyone is welcome to join the festivities. The keynote speaker will be Dr. Tony Allen, Ph.D, president of Delaware State University, along with performances by the Restored Praise and Worship Ministry Gospel Choir from Restoration Tabernacle Church, The YMCA Essence Legacy Performing arts program, including legendary drummer Bernard Lee “Pretty” Purty. Lastly, The day will also include numerous on site health screenings. 

Date: June 19

Time: 10:30 a.m.- 2:30 p.m. 

Location  Elkton Community Center 

                 121 Stockton Street 

                 Elkton MD, 21921

Cost: Free 

Howard County

Songs of Freedom; Journey Along the Underground Railroad

Come learn about the life and times of Harriet Tubman through music and story-telling with Linda Harris, the director of events and programming at the Harriet Tubman Museum and educational center in Cambridge Maryland.  

Date:  June 20

Time:   7 p.m – 8:30 p.m. 

Location:Carroll Baldwin Hall 

                9035 Baltimore Street 

                Savage, MD 20763

Cost: Free

Prince George’s County 

Concert in the Park: Juneteenth 

Don’t forget to bring a cozy blanket and your favorite lawn chair and come celebrate Juenteenth with a live musical performance by the Eclipse International Band. Refreshments will be sold. 

Date: June 21

Time:  6 p.m. – 8 p.m. 

Location: Edmonston Recreation Center 

                  5100 Tanglewood Drive 

                  Edmonston, MD 20781 

Cost: Free

Summer Jam Series: Juneteenth Celebration 

The Hyattsville Summer Jam will be hosting a celebration to honor the day with family and friends. There will be food vendors, live performances and activities for the whole family to enjoy. 

Date: June 21  

Time: 5:30 p.m – 8:30 p.m. 

Location:  Hyatt Park 

                3500 Hamilton Street

                Hyattsville MD, 20782

Cost: Free

Juneteenth Art House: Music, Poetry, and Unity 

Enjoy a night full of harmony and celebrate your roots with co-hosts Chinara Hill and Amira Mitchell at the Black owned Oblivion Art House. There will be poetry, a DJ, free beverages and food vendors. 

Date: June 18 

Time: 7:30 p.m. – 10:30 p.m. 

Location: Oblivion Art House 

                  8901 49th Avenue 

                 College Park, MD 20740

 Cost: Free

Colors of Freedom: A Juneteenth Celebration Sip and Paint

Get ready to harvest your imagination by painting through a relaxing atmosphere that will inspire attendees to learn about Juneteenth in a creative way. 

Date: June 19 

Time: 1 p.m.- 3 p.m. 

Location Arts’tination 

               162 Waterfront Street 

               Oxon Hill MD, 20745

Cost: Free 

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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 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.

The post The road ahead: An AFRO inside look at BOPA’s new CEO, Rachel D. Graham appeared first on AFRO American Newspapers.

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.

The post Howard University revokes Diddy’s honorary degree as mogul’s legal troubles grow appeared first on AFRO American Newspapers.

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 Ariyana Griffin 
Special to the AFRO 

Five-year-old Zion Phillips has become a part of the less than 1 percent of members to test into Mensa, the largest and oldest national intelligence quotient (IQ) society in the world. 

Due to her high achievement as a kindergartener, she has officially been identified as gifted allowing her to receive support and resources through the Florida Department of Education until the end of her high school matriculation. 

Zion’s love for reading and learning started young; her father, Kevin Clouden, remembers her reading early and often. 

“To be honest, naturally she enjoys reading. She would stay up for hours reading book after book after book,” Clouden told the AFRO. “Her mother, who is an advocate for education, placed her in a position where she was able to naturally show her intelligence.”

Clouden explained that reading is not the only thing she enjoys or has on her schedule. Being musically inclined himself, it was only right that he exposed her to instruments and music early on. But quickly, he realized she naturally had an ear for music. He shared that children usually bang on a piano until they get the hang of things, but Zion was different. She mentally registered sounds and music notes, and eventually started playing things she heard on television. To keep her enriched outside of academics she is in several extracurricular activities.

“Her schedule is one that an adult probably would not be able to keep up with. From ballet to basketball, to swimming and obviously to piano lessons,” said Clouden. “ Her ability to catch on to things very easily and be able to adapt in areas that may not be as straightforward is something we found to be just extremely astonishing.”

According to an assessment by “OCPS School Psychologist Tamika Matthews, her composite IQ is in the top 2 percent, and her non-verbal score is in the top 1 percent.” 

Her mother, Anuli Phillips, shared that when Zion was young she was read to often by family members. By three-and-a-half years old, she was reading on her own. She even found a way to use reading to extend her bed time. 

Around 7 p.m. all technology would be turned off, and instead Zion would pick up a book. 

“She knew that if she was sitting there with a book, I wouldn’t say, ‘Okay, Zion put the book away– time to go to sleep.’ It started off with 10 minutes of reading and then 20 minutes. The next thing you know, she’d be in a room and I would forget she was there. An hour would go by and she’d be in there reading,” said Anuli.

Zion’s grandmother is an early childhood education specialist, and urged her parents to get her tested early on. “I just figured it was grandmother’s love and I didn’t think too much of it,” said Anuli. However, when she entered Zion in pre-K, her teacher started pulling her aside letting her know Zion would be getting extra work due to being ahead. The teacher even allowed Zion to read onstage at the school’s graduation. By kindergarten, Anuli knew the testing had to be done. 

“She was already in the 90th percentile as far as reading, math, language, arts–everything,” said Anuli.

She started the task of reaching out to administration and school boards to see what can be done as far as advancement. The parents realized that she would get bored with the work due to being so far ahead. However, state laws made it extremely difficult.

“In the state of Florida, you can’t go into first grade no matter where you are, no matter what your test scores are, no matter what your IQ is in public schools. At least unless you turn six-years-old by September,” said Anuli. “I went to the school board, I went to the state Florida Department of Education, reached out to them to see if there was any type of exemption that they could grant her. There was not.”

Not defeated, she looked up other resources and options and came across Mensa and other gifted programs. They started the process which included recommendations from psychologists, teachers and three rounds of testing. When Zion got her scores back, she submitted them to Mensa. 

Anuli expressed the importance of resources and networking to help support children who may be gifted. Since Zion became a part the gifted program at her school, another student has joined as well.

Anuli shared that testing into the gifted program relies heavily on teachers and psychologists, which sometimes allows the students’ gifts to go unnoticed if the classroom is over populated. She shared that finding alternative options or outsourcing is vital to ensure that children are getting the best resources.

Mensa has annual conferences to help parents and students alike network, this is what is most important for Anuli, finding community. 

“I wanted her to be able to connect with other young kids that are in the same box as her. [Students] that will have the same challenges that she will have as far as trying to find different programs. I wanted to be able to connect with the moms and dads to see what are you guys doing to challenge them and to keep them engaged with learning and with school,” Anuli shared with the AFRO. “That is what was the most important thing for me, especially her coming in as a kindergartner into Orlando’s gifted program and the state of Florida’s gifted program.”

Zion also has a Youtube Channel, Zaza Read To Me | Story Time for Kids by Kids, where she shares her love for reading and some of her favorite books with other children. She currently has over one thousand subscribers. 

The post An AFRO spotlight on Black Excellence: Meet Zion Phillips, the five-year-old accepted into national society for high IQ 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 Reginald Williams
Special to the AFRO

Charles Mason III is one of approximately 101,000 American citizens – and among roughly 27,000 African-Americans – awaiting a kidney transplant.

On average, 17,000 recipients receive kidney transplants annually. Blacks, however, proportionately  receive even fewer kidneys.

 All the usual social determinants suspects play a critical role in African-Americans reduced opportunity to find kidney donors:

-Lack of access to care,

-Poor care coordination,

-Lack of suitable donors,

-Lack of funding, and

-Persistent medical mistrust

While African-Americans develop kidney disease at almost four times the rate of White people and are

diagnosed with end-stage kidney failure at 2.5 times the rate of White people, they have a decreased chance of getting a lifesaving organ. According to the National Kidney Foundation, Black people wait an average of 64 months to get a transplant, while White people secure a new kidney in 37 months.

One reason for the extended wait is due to an inaccurate estimated glomerular filtration rate (eGFR)

test used to assess a person’s kidney function. The test evaluates how efficiently a person’s kidneys remove creatinine, a waste product filtered out of blood. The eGFR equation reports a score based on measured creatinine levels while also considering a patient’s age, gender, and race. The race-based methodology used to calculate test results for Black and non-Black patients played a significant factor in who is placed on the donor list.

A 2019 paper published in the Journal of the American Medical Association by nephrologist Dr. Nwamaka Eneanya, an assistant professor in epidemiology and in renal-electrolyte and hypertension at the Perelman School of Medicine, shined a spotlight on the issue.

“The researchers who developed these equations discovered that Black study participants had higher creatinine levels compared to white study participants — despite having similar kidney function,” Dr. Eneanya explained.  “The researchers proposed that the reasons for their findings were due to Black people having more muscle mass than white people. Since people with more muscle mass make more creatinine, they concluded that Black patients’ eGFR scores should be adjusted with a multiplication factor. Clinicians have been performing this ‘race correction’ for more than 20 years, so Black patients are routinely assigned higher kidney function than those of other races.”

Because the eGFR overestimated Black patients’ kidney functions, it resulted in their delay in being placed on a donor’s list.

Dr. Eneanya championed a change in the use of the eGFR test, and the National Kidney Foundation and American Society of Nephrology have also advocated for a switch to race-free equations in calculating kidney function.

To mitigate the damage of the biased testing, more than 14,000 African American candidates were moved up on the priority waitlist between January 2023 and mid-March 2024. Candidates had their wait time reduced by almost two years. According to the Organ Procurement and Transplantation Network, approximately 3,000 patients received kidneys.

“When I found out they were messing with the numbers [kidney level function from the eGFR test], I no longer wanted to hear how in medicine everything is on the up and up. No. You’re lying,” said a passionate Mason. “Everything is not on the up and up, and y’all [medical professions] need to be scrutinized more. We need better checks and balances for a lot of systems in this country.”

The 33-year-old Baltimore artist was diagnosed with chronic kidney disease when he was 10 years old. Sitting in a doctor’s office on Sept. 11, 2001, watching two commercial airliners crash into the World Trade Centers, Mason – not understanding the dynamics of what he witnessed – learned that he, too, would suffer a crushing tragedy. 

On the unforgettable day that shook America, Mason felt his world collapse. He visited the doctor, believing he had two broken ankles because of excessive swelling. Instead, he learned his swollen feet were the result of edema from poor kidney function, and Mason was diagnosed with primary focal segmental glomerulosclerosis (FSGS), a chronic kidney disease that affects about 40,000 people annually. Primary FSGS has no known cause.

“They tested me for everything, like glaucoma, diabetes and other auto-immune diseases and conditions because my illness came out of nowhere,” explained the abstract painter. “Till this day, to my knowledge they don’t know where it comes from.”

Despite being eligible, Mason isn’t on a donor list. He is young, consumes a regime of medicine that keeps his kidneys filtered and maintains a healthy lifestyle. However, the University of Maryland of Baltimore County fine arts graduate is cognizant that he needs a donated kidney sooner than later.

“I’m thankful for not having to be on a list,” Mason said. “I’ve been able to find a regime of medicine that has really helped me. I’m thankful for being in half-decent shape health-wise. I’ve taken care of my body. All of that has a lot to do with me being stable. For a long period of time, even for years, my kidney function levels stayed stagnant. But as you continue to live, those levels will decrease.”

The Baltimore native hopes to find a living kidney donor.

“Right now, I’m aiming for, praying for, hoping for a living donor. With a living donor versus being on a list and waiting for someone’s kidney, chances are higher that it will be a healthier kidney. I’ll be able to have it longer, and it is less likely to have certain diseases,” Mason said.

According to Mason, living donors provide a better prospect for a successful transplant. Living donors must undergo a more rigorous screening process. Medical experts say that recipients of living donors generally experience better outcomes. A kidney with metabolic issues like high blood pressure or diabetes is not a good candidate for transplants.

“They scrutinize it [a transition kidney] to a degree but it’s different,” explained Mason. “With a living donor, they want the person to be as healthy as possible. They scrutinize them really well because you’re getting a foreign organ into your system. They don’t want someone who is pre-diabetic to donate an organ.”

During National Kidney Month, Mason authored an open letter to the community to increase his odds of finding a suitable donor, sharing his journey, and asking for help. In addition to the kidney, he will need to fund the portion of the transplant not covered by his health insurance.

“This might be one of the biggest asks I’ve ever had to do, that is, to ask you and anyone you may know that might be interested if they’d be willing to donate a kidney to me,” Mason said. “Spread the word ‘cause if it’s one thing for sure, I can’t do this alone and I know we’re not meant to do any of this life alone.”

The post Baltimore’s abstract painter Charles Mason III needs a kidney 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 Alicia Rancilio
The Associated Press

It all began with a post on Twitter. It was 2020 during the height of the pandemic and LaDarrion Williams was thinking about the lack of diversity in the fantasy genre. He proposed: “What if Harry Potter went to an HBCU in the South?”

“Growing up, I watched ‘Twilight,’ I watched ‘Hunger Games’ and ‘Divergent’ and ‘Percy Jackson,’ which is one of my favorite books. I didn’t see myself in those stories, and I didn’t feel seen by them,” said Williams. He is a self-taught playwright, filmmaker and screenwriter.

The post went viral and started a dialogue online, leading Williams down a long road to make good on his idea. He’s the first to admit though that the process was not a fairytale.

Williams’ “Blood at the Root,” the first in a three-book deal, arrives in stores May 7. Jalyn Hall (“Till”, “All American”) recorded the audio version. The book follows Malik, a 17-year-old with magical powers who gets accepted into Caiman University, an HBCU with a “Blackgical culture” and a magic program.

Williams talked to The Associated Press about how his tweet became a novel and his inspirations for “Blood at the Root.”

Answers have been edited for clarity and brevity.

___

AP: You sent that… and got a big reaction. Then what happened?

WILLIAMS: I wrote it as a TV pilot. I didn’t intend it to be a novel. I was sharing (the process) online and people were sending me money with CashApp and Venmo from the U.S., Canada, even New Zealand. They said, “Go make this a short film.” It was October 2020. Things were shut down. You couldn’t buy hand sanitizer. I asked my friends, and we shot this magical short film around LA. We snuck onto the UCLA campus. Sorry, UCLA, but we wanted to film on an actual college campus. That’s when I realized this story was very special.

I thought I had it all. I thought I had the viral tweet, the short film, I had the script, I had the idea. I thought Hollywood was going to give me a multimillion-dollar offer. I was humbled very quickly with that. No calls were coming. I struggled to get meetings with different production companies and showrunners and studios. Nobody wanted to meet with me. I was really confused and fell into a deep depression.

AP: Is that when you decided to pivot and write the book?

WILLIAMS: I was very sad. There were some days I couldn’t even get out of bed. I felt like I failed my friends who risked their health. I felt I failed people who supported it on social media. It was kind of embarrassing. My friend one day said, “Why don’t you turn it into a book?” With everything that was going on in the world and in America, like the civil unrest, I didn’t think publishing would want this.

At first, they didn’t. I was getting rejections left and right saying, “We can’t connect with this. It’s not marketable.” One of my biggest rejections came on my birthday, Dec. 3, 2022. In late January 2023, I was driving for Uber, and I got a call from my agent who said we got a three-book deal.

AP: Did you scream? Cry?

WILLIAMS: No. I turned the Uber app off and drove home in silence. I went to Ralphs and sat in the parking lot and said, “I sold a book. I didn’t just sell a book, I sold three.” Then I started screaming and calling everybody.

AP: Talk about the protagonist Malik.

WILLIAMS: I wanted to create a Black boy from Helena, Alabama, which is where I’m from, who has cool magical powers. It’s a coming-of-age story about a 17-year-old who gets to attend this really cool school. He’s fun. He makes friends. Friendships, especially as a teenager, are very important. They kind of set you up for life. Malik also connects with his family and ancestry. He’s had childhood trauma and hardships, and he’s going to make mistakes, but the mistakes don’t cost him his life. I want people to get to know him. The way he speaks, the way he thinks. I wanted him to have vulnerability and softness. He extends the love he didn’t have as a child to his foster brother. I wanted to create all of that through the lens of magic.

AP: You were also very specific about how you wanted the cover to look.

WILLIAMS: The only time I saw myself on book covers was Christopher Paul Curtis’ “The Watsons Go to Birmingham — 1963” and “Bud Not Buddy.” It was a nonnegotiable with my publishers. I was like, “I need a Black boy on the cover. I don’t care how we do it. That’s what I want.” I was a little bold, but it’s all right. I also wanted him in a hoodie on the cover because, you know, Black boys in hoodies are often criminalized. I got what I wanted.

AP: Do you still see the story as a TV series?

WILLIAMS: There are talks about it. I remember going to watch “Twilight,” as a 6-foot-3 Black kid in Alabama. It was such a cool era to go to the movies and be in this fandom and meet other people that you would never meet. I want to recreate that moment when “Black Panther” dropped, and everybody was just buzzing about it. I want to do that for television. I want that for Black kids.

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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.

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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.”

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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 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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Black PR Wire

(Black PR Wire) WASHINGTON — Rap artist, civic leader and activist Killer Mike—winner of three 2024 Grammy Awards®—will join the National Symphony Orchestra in a new, original orchestra program. The evening-length concert will feature new arrangements from Killer Mike’s critically acclaimed album “Michael,” led by Principal Pops Conductor Steven Reineke. This will be the orchestra’s first self-produced collaboration with a rap artist since its concert with Common in 2017.

“Michael,” Atlanta rapper Killer Mike’s sixth solo album and his first in over a decade, was awarded Best Rap Album last month at the 2024 Grammy Awards®. The album was hailed for its “musical adventurism” by Slate and for its “startling depth and warmth” as it reflects on his personal journey.

The National Symphony Orchestra has a long history of artistic innovation, collaborating with artists across genres. Most recently, the NSO’s collaboration with Maxwell sold out the Kennedy Center Concert Hall for four consecutive nights, and the orchestra has pushed the boundaries of orchestral music by performing with luminaries such as Nas (2014), Kendrick Lamar (2015), and Common (2017). 

Additionally, recent collaborations with artists Bob Weir and the Wolf Bros, Audra McDonald, Anoushka Shankar, Pharrell, Black Girls Rock, Jacob Collier, Laufey, and NSO Artistic Advisor Ben Folds and his Declassified series, underscore the orchestra’s commitment to diverse and boundary-pushing programming.

TICKET INFORMATION

Tickets ($49–$169) are available at the Kennedy Center Box Office, online at kennedy-center.org, and via phone through Instant Charge, (202) 467-4600; toll-free at (800) 444-1324. For all other ticket-related customer service inquires, call the Advance Sales Box Office at (202) 416-8540.

PROGRAM LISTING

Killer Mike & The Mighty Midnight Revival with the National Symphony Orchestra

Tuesday, May 21, 2024, 8:00 p.m.
Kennedy Center Concert Hall

Steven Reineke, conductor
Killer Mike
The Mighty Midnight Revival
National Symphony Orchestra 

Killer Mike will join the National Symphony Orchestra in a new, original evening-length performance. The concert will feature new arrangements from Killer Mike’s critically acclaimed album “Michael,” led by Principal Pops conductor Steven Reineke.  This will be the orchestra’s first self-produced collaboration with a rap artist since its concert with Common in 2017.

Artists and performances are subject to change.

FUNDING CREDITS

The NSO Pops Presenting Sponsor is AARP.

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By Maria Sherman,
The Associated Press

It has been 21 years since Sean Paul’s dancehall anthem “Get Busy” topped the Billboard Hot 100 — which means “Get Busy” is finally old enough to hear “Get Busy” at the club.

“It’s changed for me now,” Sean Paul told The Associated Press over Zoom from his studio in Jamaica, reflecting on the song’s legacy. “Because when I say, ‘Get busy,’ I’m telling the kids to do their homework or clean stuff up.”

In the years since Paul helped introduce dancehall riddims and reggae to new audiences, he’s released six ambitious albums, including two straight out of the coronavirus pandemic: 2021’s “Live n Livin” and 2022’s “Scorcha.” He’s become a father and a devoted husband to his wife,  “Jodi”– yes, that “Jodi”– the one mentioned in the “Get Busy” lyric, “Shake dat ting, yo, Donna Donna / Jodi and Rebecca.” These days Paul’s ambition to make joyful, danceable music has never wavered.

“It’s a timeless piece for me,” he says of “Get Busy.” 

“Every time I try to do a song, I try to put the same butterflies that I had in my belly when I was flirting with the first girl on the first dance floor I went to. It’s just a feeling.”

That translates to his goal of bringing positivity to the masses.

“I have a lot of help with the riddim tracks, the genre itself is very infectious,” he says. “It gives you joy.”

His dedication comes from life experience.

“I had a lot of problems, as most teenagers do, trying to find themselves, trying to understand what life’s about. You know, my father was in prison. It was a single mom situation, and she was struggling to make sure that we were conscious beings,” he says.

Music was his release.

Now, he’s taking that energy on a 22-date U.S. run dubbed the “Greatest Tour,” kicking off May 2 at House of Blues in Orlando, Florida, and ending June 16 at the Fillmore in Charlotte, North Carolina.

“Why am I doing it now? I feel that the people are ready for me again,” Paul says.

“I did some work with some reggaetón acts last year,” he adds, referencing new dancefloor hits, including the massive “Niña Bonita” with Feid and “Dem Time Deh” with Colombian singer Manuel Turizo.

He’s also released a few solo singles, including the infectious “Greatest,” and promises more conscious songs in the future — thematically not unlike 2016’s “Never Give Up.”

“There’s a lot of struggles here in Jamaica as well as it being, you know, a very beautiful place. But we do have our struggles that we have to deal with,” he says. “A lot of people don’t know me for that type of material, but, you know, it’s as important in my career.”

At his shows, fans will get a little taste of everything. But “good vibes,” mostly, he says: “I think people feel the fun from me and it bounces back and forth.”

This article was originally published by The Associated Press.

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By Joy Young,
Howard University News Service

The Smithsonian Anacostia Community Museum has debuted its exhibition “A Bold and Beautiful Vision.” The work, which focuses on the local educators and institutions that shaped Black artists from 1900 to 2000, will be on display until March 2, 2025. 

The exhibit showcases a century of Black arts education through 85 archival photos and artifacts, exclusive video footage, art and interactive displays.

The opening ceremony included a panel discussion where Howard arts alums came to reflect on how Howard University inspired and molded their careers.

“I don’t know how many art schools in America or anywhere else that get their students so invested in the art of making art,” said Kinshasha Conwill, Howard alumna and founding director of the National Museum of African American History and Culture. “Every time I come back to campus, my touchstone, my lotus, is the [Howard] Fine Arts building because that is where so much of who I am began.” 

According to the museum’s website, D.C. arts educators often had to navigate underfunded schools that had to endure segregation and other hurdles. 

However, high schools like Dunbar, Armstrong and McKinley Tech, and universities like Howard, were still able to provide students with a formal education.

“African-American artist-educators in 20th-century Washington were unified not by a singular aesthetic vision but by a bold and deeply held commitment to inspiring a love of the arts in young people,” said a statement in the entryway of the exhibition. 

Included in the family-friendly exhibit are prints from one of D.C’s earliest Black-owned art galleries, the Barnett-Aden Gallery, late 1960s silkscreen prints by Lou Stovall, a D.C. visual artist, and the paintbrushes and watercolor paint set of educator and painter Alma Thomas. 

In the interactive section of the exhibit, there is a Gratitude Garden, an area with markers, stencils, and paper where attendees are encouraged to leave a note to an arts educator who impacted their lives. 

There is also a section where guests can listen to music created by Black musicians or play with a DJ set and keyboard.

This article was originally published by Howard University News Service.

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By Ericka Alston Buck,
Special to The AFRO

The Sweet Jazz Festival is set to grace the stage at the National Conference Center April 19-20, promising to be the most significant celebration of jazz and soul music Loudoun County, Va., has ever witnessed.

This extraordinary event is the brainchild of Tracy Hamlin, a globally recognized songstress based in Loudoun County. Having toured over 58 countries and achieved chart-topping success worldwide, Hamlin decided it was time to bring her passion for music back home to Northern Virginia.

“Loudoun County has been my musical sanctuary for many years,” said Hamlin. “The Sweet Jazz Festival is the realization of a dream, and something I want to grow close to home.”

With a lineup featuring renowned jazz artists, like Marcus Anderson, Karen Briggs and Jeff Bradshaw, the festival promises a captivating experience for music enthusiasts. Hamlin, known for her multifaceted talent spanning soul, jazz, R&B and dance music, will also grace the stage alongside these world-class acts.

But the Sweet Jazz Festival is more than just music; it’s a celebration of community and giving back.

“The Sweet Jazz Festival is a love letter to this incredible community and the transformative power of music,” Hamlin said.

In an exclusive interview with The AFRO, Tracy Hamlin shared her journey from growing up in Baltimore to becoming a powerhouse in the music industry. Reflecting on her career, which includes collaborations with legends like Carlos Santana and Gloria Gaynor, Hamlin revealed her deep-seated passion for music and her desire to inspire others.

“Music saved my life and changed my life,” said Hamlin. “It’s important for me to do this with a charitable component.”

A portion of all ticket sales will support musical scholarships for students and make financial contributions to Young Kings Movement and the Tigerlily Foundation, organizations carefully selected for their impact in Loudoun County. The Young Kings Movement empowers young men, and the Tigerlily Foundation aids young women battling cancer.

“I want to support other businesses and give back to the community,” added Hamlin.

With an impressive lineup, a commitment to giving back, and a vision to showcase the best of Loudoun County, the Sweet Jazz Festival promises an unforgettable experience for attendees. From the energetic performances to the culinary delights and local vendors, the festival offers something for everyone.

To learn more about the festival lineup, accommodations, and ticket purchases, visit: www.SweetJazzFestival.com.

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By Ericka Alston Buck,
Special to the AFRO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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By Catherine Pugh
Special to the AFRO

The 2024 Delta Authors on Tour, an initiative of Delta Sigma Theta Sorority’s National Arts and Letters Commission, will be making its Eastern Region stop in Baltimore on April 6.

The event will be hosted by three local alumnae chapters of the sorority, including the Baltimore City, Baltimore County and Baltimore Metropolitan alumnae chapters.

The event titled, “Elevating Your Mind Between The Lines,” will showcase nine Delta Sigma Theta authors at the Reginald F. Lewis Museum, 830 East Pratt St., on April 6 from 1-3 p.m.  The event is free and open to the public.

Kellie Gowan, tri-chair of the Delta Authors On Tour event said, “It is an honor to be selected by the Eastern Region to host this exciting event in our city.” 

“All three alumnae chapters have worked together to make this event possible,” she continued. “We look forward to welcoming these authors and sharing them and their books with Baltimore.”

The nine authors include Michelle Coles, author of “Black Was the Ink;” Diane Hamilton, author of “Maryville, The Audacity of People;” Vivian King, who wrote “When The Words Suddenly Stopped;” Marion Lane, author “Where Did We Come From: The Birth of Black America;” Daphne Maxwell Reid, author of “Doors;” Cicely Mitchell, with her book “The Travel Champion: A Four Step Guide to Traveling the World Solo, Safely And On A Budget;” Jayne Lynn Peabody Smith, author of “Heels Hearts and Halos: Lessons On My Journey;” Dawn Wayman, author of “Malcolm Who Will You Be?” and Terri Johnson, who penned the book, “Faith Alone.”  

According to McGowan, “Each author’s book will be available for sale and signing.”  

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Black PR Wire) Washington, D.C. – The Congressional Black Caucus Foundation (CBCF) announced its collaboration with Paramount Pictures for the highly anticipated BOB MARLEY: ONE LOVE film which hit theaters on February 14, 2024. The CBCF has been selected as the film’s nonprofit partner to provide The Bob Marley: One Love Social Impact Scholarships to support students pursuing degrees in social justice related programs.

“The message of unity and love in the Bob Marley: One Love movie reinforces the resolve required to meet the generational challenges faced by diverse emerging leaders through a steadfast commitment to progress,” said Nicole Austin-Hillery, CBCF President and CEO. “Developing future leaders is central to our mission of advancing the global Black community by preparing the next generation to lead in public service and policy development. We are proud to add the One Love Social Impact scholarship opportunity as another option to help relieve financial barriers to higher education for students of color.”

The Bob Marley: One Love Social Impact Scholarships honor Marley’s legacy as a cultural icon and his message of unity by supporting ten rising sophomore, junior, and senior students with $5,000 scholarships in pursuit of degrees in community organizing, nonprofit management, public policy, or social justice related degree programs who are attending selected Historically Black Colleges and Universities (HBCUs).

Paramount Pictures is giving $50,000 to support the ten scholarships that will be awarded to students attending Bowie State University, Clark Atlanta University, Dillard University, Florida A&M University, Hampton University, Morehouse College, Morgan State University, Spelman College, Texas Southern University, and Xavier University of Louisiana. 

Applications are open April 1 through April 30, 2024. To apply, students can visit https://cbcfinc.academicworks.com/.

“Bob Marley’s commitment to creating a better world is the driving force behind his musical legacy,” said Marc Weinstock, President Worldwide Marketing and Distribution for Paramount Pictures. “Empowering a new generation to take the reins on shaping that world is one way to honor the values that Bob embodied, and we are proud to partner with the Congressional Black Caucus Foundation to move that mission forward.” 

BOB MARLEY: ONE LOVE celebrates the life and music of an icon who inspired generations through his message of love and unity. On the big screen for the first time, discover Bob’s powerful story of overcoming adversity and the journey behind his revolutionary music. Produced in partnership with the Marley family and starring Kingsley Ben-Adir as the legendary musician and Lashana Lynch as his wife Rita, BOB MARLEY: ONE LOVE premiered February 14, 2024.

For additional information on CBCF and to learn more about The Bob Marley: One Love Social Impact Scholarships, visit cbcfinc.org.

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By AFRO Staff

Sandra E. Crouch, senior pastor of New Christ Memorial Church, has died at age 81. 

According to Billboard, the death came on March 17,  while Crouch was at Northridge Hospital in Northridge, Calif. Crouch had been admitted to the hospital after receiving treatment for a non-cancerous lesion on her brain. 

Crouch, the twin sister of the famed gospel artist, Andraé Crouch, was well known in the faith community and in the entertainment industry as a Grammy-award winning singer. In 1983, according to information from the Recording Academy, Crouch took home the Grammy Award for best soul gospel performance by a female artist. In addition to her vocals, she was known for her work in the percussion arena as well. Most notably, she played percussion for the Jackson 5’s hit classic, “I Want You Back.” 

According to information released by the church that she pastored, Crouch “was ordained as an elder in 1998, but learned how to teach and preach long before that by watching her father the late Bishop Benjamin J. Crouch. She was a “dynamic and passionate servant of God” who strove to “make His Word relatable for all age groups.” 

A musical tribute and viewing will honor Crouch on April 16. A celebration of life will be held for Crouch on April 17. All ceremonies will be held at New Christ Memorial Church, located at 13333 Vaughn Street in San Fernando, Calif. 

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By Michael Balsamo and Colleen Long,
The Associated Press

Two properties belonging to music mogul Sean “Diddy” Combs in Los Angeles and Miami were searched March 25 by federal Homeland Security Investigations agents and other law enforcement as part of an ongoing sex trafficking investigation by federal authorities in New York, two law enforcement officials told The Associated Press.

It’s not clear whether Combs was the target of the investigation. The officials were not authorized to publicly discuss details of the investigation and spoke to the AP on condition of anonymity.

In a statement, Homeland Security Investigations said it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”

A spokesperson for the U.S. attorney’s office in Manhattan declined to comment.

Messages to Combs’ lawyers and other representatives seeking comment were not immediately returned.

A police line was set up around the Los Angeles house in the wealthy Holmby Hills neighborhood near Beverly Hills. Helicopter video from KABC-TV showed a group of agents with vests that indicated they were from Homeland Security Investigations gathered in the home’s backyard near the pool. A command post was set up outside the house and agents were still entering and leaving hours after the search began.

There have been several sexual assault lawsuits filed against Combs in recent months.

In February a music producer filed a lawsuit alleging Combs coerced him to solicit prostitutes and pressured him to have sex with them. Combs’ attorney Shawn Holley has said of those allegations that “we have overwhelming, indisputable proof that his claims are complete lies.”

Combs’ former protege and girlfriend, the R&B singer Cassie, sued him in November alleging years of sexual abuse, including rape. The lawsuit said he forced her to have sex with male prostitutes while he filmed them. The suit was settled the day after it was filed.

Another of Combs’ accusers was a woman who said the rap producer raped her two decades ago when she was 17.

The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly as Cassie did.

Combs had said in a December statement, “I did not do any of the awful things being alleged.”

Douglas Wigdor, an attorney who represents Cassie and another woman who sued Combs, said in a statement Monday, “Hopefully, this is the beginning of a process that will hold Mr. Combs responsible for his depraved conduct.”

It is not clear whether the search is related to any of the allegations raised in the lawsuits. 

Combs is among the most influential hip-hop producers and executives of the past three decades. Formerly known as Puff Daddy, he built one of hip-hop’s biggest empires, blazing a trail with several entities attached to his famous name. He is the founder of Bad Boy Records and a three-time Grammy winner who has worked with a slew of top-tier artists including Notorious B.I.G., Mary J. Blige, Usher, Lil Kim, Faith Evans and 112.

Combs created the fashion clothing line Sean John, launched the Revolt TV channel with a focus on music, and produced the reality show “Making the Band” for MTV.

His latest album, “The Love Album – Off the Grid,” was released last year days after Combs was honored at the MTV VMAs. It was nominated for best progressive R&B album at February’s Grammy Awards, which the rapper-mogul did not attend.

The entertainment industry has been beset with a steady stream of career-ending sexual misconduct allegations in the years since stories about movie mogul Harvey Weinstein spawned the #MeToo movement in 2017. Weinstein and “That ’70s Show” star Danny Masterson are each serving prison sentences after rape convictions. Dozens of civil lawsuits have been filed against prominent figures.

The music industry has not faced a reckoning to the same degree, but singer and producer R. Kelly is serving a prison sentence for sexually abusing young fans, seven women have sued hip-hop mogul Russell Simmons alleging he raped them and two women have sued Aerosmith singer Steven Tyler alleging sexual assault.

Weinstein, Masterson and Kelly are appealing their convictions, and Simmons has denied all of the allegations against him. One lawsuit against Tyler has been dismissed and he is contesting the other.

AP Entertainment Writer Andrew Dalton contributed from Los Angeles. This article was originally published by The Associated Press. 

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By Maria Sherman,
AP Music Writer

LOS ANGELES (AP) — Days after Beyoncé releases her highly anticipated eighth studio album, she’ll make an appearance at the 2024 iHeartRadio Music Awards to receive its innovator award.

Beyoncé will appear at the Dolby Theatre in Los Angeles to accept the honor during the April 1 ceremony hosted by Ludacris. She’s being recognized for her pioneering career: for decades of creative risks and influencing pop culture on a mass scale, as well as last year’s groundbreaking Renaissance World Tour.

Ludacris will also perform, joining a previously announced lineup of Justin Timberlake, Green Day, TLC, Jelly Roll, Lainey Wilson, and Tate McRae.

Cher will be presented with the iHeartRadio icon award.

Beyoncé’s upcoming “Act ll: Cowboy Carter” is the follow-up to 2022’s acclaimed “Act I: Renaissance.”

Last month, the superstar singer became the first Black woman to top Billboard’s country music chart after the uptempo country stomp “Texas Hold ‘Em” reached No. 1 on the country airplay chart.

This year, Beyoncé scored five iHeartRadio Music Awards nominations, including R&B artist of the year, R&B song of the year (for “Cuff It,”) favorite tour style, best fan army and a new category, favorite on screen, for “Renaissance: A Film by Beyoncé.”

Taylor Swift leads the nominations with nine, followed closely by Jelly Roll, SZA, and 21 Savage with eight. Behind them is Olivia Rodrigo, who received seven.

Fans can vote in several categories including best lyrics, best music video, best fan army, social star award, favorite tour photographer, TikTok bop of the year, favorite tour style and two new fields: favorite on screen and favorite debut album.

Social voting is open at iHeartRadio.com/awards and will close on March 25 at 11:59 p.m. PDT for all categories.

The show will air live on Fox stations beginning at 8 p.m. EDT. It will also air on iHeartRadio stations across the U.S. and the app.

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By Ashraf Khalil,
The Associated Press

WASHINGTON (AP) — Kevin Hart, who rose from the open mics and comedy clubs of his native Philadelphia to become one of the country’s most recognizable performers, will receive the Mark Twain Prize for American Humor at a gala performance March 24 at the Kennedy Center for the Performing Arts.

Hart, 44, has honed a signature style that combines his diminutive height, expressive face and motor-mouth delivery into a successful stand-up act.

In Hollywood, Hart made his movie debut in the 2002 film “Paper Soldiers” and came to mainstream fame through a string of scene-stealing cameos in hits such as 2005’s “The 40-Year-Old-Virgin.”

Hart’s films have grossed more than $4.23 billion globally.

Now in its 25th year, the Mark Twain Prize annually honors performers who have made a lasting impact on humor and culture. Honorees receive a bronze bust of Twain, the iconic American writer and satirist whose real name was Samuel Clemens.

Mark Twain recipients are honored with a night of testimonials and video tributes, often featuring previous award winners. Other comedians receiving the lifetime achievement award include George Carlin, Whoopi Goldberg, Bob Newhart, Carol Burnett and Dave Chapelle. Bill Cosby, the 2009 recipient, had his Mark Twain Prize rescinded in 2019 amid allegations of sexual assault.

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By Luis Andres Henao,
The Associated Press

NEW YORK (AP) — The biopic “Bob Marley: One Love” has been a box-office hit in the United States and several other countries. The film, starring Kingsley Ben-Adir, is focused on the Rastafari legend’s story during the making of his 1977 album “Exodus” while leading up to a momentous concert in his native Jamaica.

The Rastafari faith is rooted in the Caribbean island in the 1930s. Its message was spread across the world in the 1970s by Marley — the faith’s most famous exponent. For decades, Rastafari have been prosecuted for their ritualistic use of marijuana. Some of those laws have eased, granting Rastafari sacramental authorization to grow the marijuana they deem sacred.

Here is a quick look at the faith’s beliefs and history:

WHAT DO RASTAFARI BELIEVE?

The Rastafari faith is rooted in 1930s Jamaica, growing as a response by Black people to White colonial oppression. The beliefs are a melding of Old Testament teachings and a desire to return to Africa.

Both are crucial to Marley’s lyrics and worldview. In ” The Bible and Bob Marley: Half the Story Has Never Been Told,” author Dean A. MacNeil writes that Marley’s personal Bible was a King James version. It included on its cover a photocopied image of the late Ethiopian Emperor Haile Selassie, who is worshipped by most Rastafari.

The Rastafari message was spread across the world in the 1970s by Marley and Peter Tosh, another Jamaican reggae legend and globally known Rastafari.

In the film “One Love,” the actor who plays Marley mentions “Jah” several times.

That’s because Rastafari’s personal relationship with “Jah,” or God, is considered central to the faith.

Rastafari reject materialist values and often practice a strict oneness with nature. They also let their hair grow, uncombed, into dreadlocks.

In several scenes in the film — produced with the involvement of the Marley estate — Marley sings to large crowds of people who wave Rastafari flags in the green, gold and red colors of the faith.

WHY DO RASTAFARI USE SACRAMENTAL MARIJUANA?

Rastafari followers believe the use of marijuana is directed in biblical passages and that the “holy herb” induces a meditative state and brings them closer to the divine. The faithful smoke it as a sacrament in chalice pipes or cigarettes called “spliffs,” add it to plant-based organic stews and place it in fires as a burnt offering.

For decades, many have been jailed and endured racial and religious profiling by law enforcement because of their marijuana use. Many also were treated as second-class citizens across the Caribbean islands, looked down on for their dreadlocks and use of marijuana.

WHO BROUGHT MARIJUANA TO THE CARIBBEAN?

“Ganja,” as marijuana is known in the Caribbean, has a long history in Jamaica, and its arrival predates the Rastafari faith. Indentured servants from India brought the cannabis plant to the island in the 19th century, and it gained popularity as a medicinal herb.

As public opinion and policy continues to shift across the world toward the legalization of marijuana for both medical and recreational purposes, Rastafari are demanding for broader relaxation to curb persecution and ensure freedom of worship.

Some nations, including the Caribbean nation of Antigua & Barbuda, have granted the Rastafari authorization to grow and smoke the herb that they deem holy.

WHO IS HAILE SELASSIE?

In one of the first scenes of the film, Marley mentions this name. That’s because most of the many Rastafari sects worship Selassie. This is rooted in Jamaican Black nationalist leader Marcus Garvey’s 1920s prediction that a “Black king shall be crowned” in Africa, ushering in a “day of deliverance.”

When an Ethiopian prince named Ras Tafari, who took the name Haile Selassie I, became emperor in 1930, the descendants of the enslaved in Jamaica took it as proof that Garvey’s prophecy was being fulfilled. When Selassie visited Jamaica in 1966, he was greeted by adoring crowds, and some Rastafari insisted miracles and other mystical occurrences took place during his visit to the island.

___

Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.

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By Maria Sherman,
AP Music Writer

LOS ANGELES (AP) — Beyoncé is full of surprises — and on March 12, dropped yet another one. Her forthcoming album has a name: “Act II: Cowboy Carter.”

The title was revealed on Bey’s official website, along with details on a few limited edition CD, vinyl and box set releases.

“Act II: Cowboy Carter” arrives March 29.

Beyoncé first announced the news of an album last month after starring in a Verizon commercial during the Super Bowl that ended with the superstar saying, “They ready, drop the new music.” The main details about the release had been a cryptic Instagram video with country iconography that teased “act ii” coming out in March. (Beyoncé’s 2022 album “Renaissance” is frequently referred to as “Act I: Renaissance.”)

Soon after, she released two new country tracks — “Texas Hold ‘Em” and “16 Carriages.” Those releases made Beyoncé the first Black woman to top Billboard’s country music chart.

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By Jonathan Landrum Jr.,
AP Entertainment Writer

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

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

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

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

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

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

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

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

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

Queen Latifah hosted the awards ceremony aired live on BET.

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

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

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

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

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

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

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

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

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By Black PR Wire

LOS ANGELES – The joint venture between CBS Studios and the NAACP is developing a new daytime drama for the CBS Television Network.

The series, titled “THE GATES,” follows the lives of a wealthy Black family in a posh, gated community. 

Michele Val Jean, who has written more than 2,000 episodes of daytime dramas and won multiple Daytime Emmy and WGA Awards for her work on “The Bold & The Beautiful” and “General Hospital,” will serve as writer and showrunner. Val Jean will also be an executive producer alongside Sheila Ducksworth, Leon Russell, Derrick Johnson and Kimberly Doebereiner. “THE GATES” will be produced by the CBS Studios/NAACP production venture in partnership with P&G Studios, a division of Procter & Gamble.

“THE GATES will be everything we love about daytime drama, from a new and fresh perspective,” said Sheila Ducksworth, president of the CBS Studios NAACP venture. “This series will salute an audience that has been traditionally underserved, with the potential to be a groundbreaking moment for broadcast television. With multi-dimensional characters, juicy storylines and Black culture front and center, THE GATES will have impactful representation, one of the key touchstones of the venture.”

Continued Ducksworth, “I’m excited to develop this project with CBS and P&G, two of the longest and most passionate champions of broadcast and daytime television, and the NAACP, whose enduring commitment to Black voices and artists is both powerful and inspiring. I also want to thank CBS’ George Cheeks, NAACP’s Derrick Johnson and P&G’s Marc Pritchard for their personal involvement and support to take our next step forward with THE GATES.”

The CBS Studios’ production venture and development deal with the NAACP was established to help elevate a diverse range of voices as well as increase the visibility of Black artists on broadcast and streaming platforms in an ever-evolving media landscape.

About NAACP

The NAACP advocates, agitates, and litigates for the civil rights due to Black America. Our legacy is built on the foundation of grassroots activism by the biggest civil rights pioneers of the 20th century and is sustained by 21st century activists. From classrooms and courtrooms to city halls and Congress, our network of members across the country works to secure the social and political power that will end race-based discrimination. That work is rooted in racial equity, civic engagement, and supportive policies and institutions for all marginalized people. We are committed to a world without racism where Black people enjoy equitable opportunities in thriving communities.

NOTE: The Legal Defense Fund – also referred to as the NAACP-LDF – was founded in 1940 as a part of the NAACP, but now operates as a completely separate entity.

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent

(NNPA NEWSWIRE) – With the observance of Women’s History Month in full swing, the music world has finally begun to recognize female artists’ vast contributions.

The latest report from the USC Annenberg Inclusion Initiative reflected on the strides forward and the persistent obstacles women professionals in the music industry face.

The USC Annenberg Inclusion Initiative and associate professor of communication Stacy L. Smith conducted the study, which included 1,200 songs from the Billboard Hot 100 Year-End Charts and provided a detailed analysis spanning 12 years. Its scope encompassed the roles of artists, songwriters and producers while delving into Grammy Award nominations across six major categories.

The study’s findings painted a nuanced picture of progress and disparities within the industry. Notably, there has been a marked increase in the representation of women artists, reaching a 12-year high of 35 percent. Researchers said this surge, particularly evident in the rise of individual female artists claiming over 40 percent of spots on the Billboard Hot 100 Year-End Chart in 2023, signaled a positive shift. 

However, despite the gains, the study authors noted that it’s crucial to recognize that women still occupy less than a quarter of artist roles overall, underscoring the need for sustained efforts toward greater inclusivity.

Behind the scenes, there have also been advancements. The study revealed a significant rise in the percentage of female songwriters, climbing from 14.1 percent to 19.5 percent in 2023. The increase is largely attributed to the contributions of women of color. Similarly, while the number of women producers reached a modest high, significant challenges remain in achieving equitable representation in these roles.

The study’s key findings center on the crucial role that women of color have played in advancing change within the sector. Accounting for a staggering 65 percent of female artists on the charts in 2023 and making significant gains in songwriting roles, women of color have been instrumental in shaping the industry’s trajectory. Jay-Z’s Grammy speech, in which he questioned why his wife, Beyonce hadn’t won Album of the Year honors despite being arguably the most successful female music star in history, underscored the lack of recognition for women, particularly in prestigious award nominations.

The study authors wrote that efforts such as “She Is The Music,” “Spotify Equal” and “Girls Make Beats” have been crucial in fostering inclusivity and providing platforms for women, including women of color, to showcase their talent. However, they said there remains a need for collective action to dismantle systemic barriers and biases that hinder women’s progress, particularly those from marginalized communities.

“As the industry continues to evolve, it must strive to amplify women’s voices, focusing on women of color and ensuring that diversity and representation remain at the forefront of its agenda,” the authors concluded. “Only then can the industry truly reflect the richness and diversity of talent within its ranks and pave the way for a more inclusive future.”

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By Jannette J. Witmyer
Special to the AFRO

Early on in her childhood, Anne Benna Sims, the first African-American ballerina to sign a contract with the American Ballet Theatre (ABT), wanted to take lessons in dance, but she had to wait a few years before she was allowed to start. 

“My mother said that I could not,” said Sims. “I was five. She said that I couldn’t start until I was nine because my bones needed to be finished.”

According to Sims, once she was enrolled in classes at the Long Island Institute of Music in Queens, N.Y., she progressed quickly. 

“My very first class was basically just running, jumping, hopping and listening to the music,” said Sims. 

“Then I advanced into my beginning classes and moved right into first position, second position and all of that,” she shared, referencing beginner ballet technique.

Those classes served as the launchpad to her ongoing education in dance. Sims also had an interest in religious work and after a passing fascination with the habits and rosaries worn by the nuns at her Catholic school sparked a brief interest in becoming a nun, by age 13. However eventually her intuition led her to choose a career as a ballerina. Ironically, by the time she was 14, she had begun taking classes with the American Ballet Theatre School.

Growing up in New York allowed for access to a bounty of performances by what was considered “dance royalty.” She recalls being taken to see the Nutcracker with Suzanne Farrell, before she was 10; seeing “Firebird” with Maria Tallchief, “Prodigal Son” with Patricia Wilde, New York City Ballet, and Arthur Mitchell; and attending a Saturday youth program at Queens College, where she saw “Carmen de Lavallade,” “Martha Graham,” “Alwin Nikolais,” and many others. 

“My mom, God bless her soul, was very focused. And she knew I loved dance and wanted to be a ballet dancer,” said Sims. “So, by the time I was 16, I had seen all of these incredible dancers and companies. I saw and was exposed to everything, but I wanted to do ballet. That was it.”

Sims’ mother may have been responsible for most of her exposure, but when she was 13, her sister purchased tickets for them to see a Royal Ballet performance, in which her idols, Rudolf Nureyev and Margot Fonteyn, danced in “Giselle.” For her, the experience was a defining moment, which she describes, still somewhat in awe.

“At the beginning of the second act, he was dressed all in black. The doublet had slashes of white, and he wore white tights and white shoes, with this huge black cape and a bouquet of white lilies. And all he did was just walk diagonally across the stage,” she shared. “And then he walked straight across and just went off. It was the first time that I understood artistry. In that one little bit, he just radiated this sorrow, and this grief and regret… And all he did was walk. It was so beautiful.”

Sims says that she was excited to enter an apprenticeship with Harkness Ballet once she graduated high school. But after studying with the company for a year, following her audition, she was told that hers was a fruitless pursuit. 

“David Howard, who was the director at the time, called me into his office and said, ‘Well, you know, Anne… You will never get a job in this company. You’ll either have to go to Dance Theatre of Harlem, or Europe.’”

Sims says she went to the dressing room after that meeting and realized for the first time, while looking in the mirror, that she was the only Black dancer in the room. 

She refused to be deterred, and when the opportunity arose, she auditioned for Les Grands Ballets Canadiens in Montréal and was accepted. She stayed with the company for a year and, at 19, traveled to Switzerland and joined the Geneva Opera Ballet at the invitation of the company director, Alfonso Catá. He became her mentor and invited her to join the Frankfurt Opera Ballet as a soloist, when he became its director. In 1977, she returned to the U.S.

“A group of us left in 1977. When we had come back, I worked with Eglevsky and the Puerto Rican Dance Theatre,” she mentioned. “Alfonso did ballet on Broadway, and the thing that was so amazing was that I turned down Alvin Ailey and had no idea where I was going.”

Then, as fate would have it, she joined a friend taking classes at ABT who had hopes of getting in, but, instead, she was the one offered a contract.

“It was my friend, Diane, who wanted to get into American Ballet Theatre. I started taking classes with her because I knew I was never going to get into Ballet Theatre, and it wasn’t really high on my list. In fact, it wasn’t on my list, at all,” she says, laughing. “And she was more excited than me. I was just going ‘I’m so sorry. I’m so sorry. I’m sorry.’”

Notably, Sims’ first principal role with ABT was in Anthony Tudor’s Undertow with Peter Fonseca, and she was a member of its first cast for the New York premiere of Paul Taylor’s Airs. 

The accomplished, former danseuse, who now lives in France, says that she’s not danced in over 40 years and has never been phased by the notion of being “the first Black.”

“One thing has always stuck in my mind; ‘Black ballerina’ is not a profession. It is a description. Therefore, I was a ballerina. I was a Black woman dancing ballet,” she explained.

“For me, the most important thing is my predecessors, as Black women in dance. So, it’s not a question of ballet. It’s a question of the spectrum. My history goes back to Katherine Dunham, who introduced Afro Cuban dance to America. It goes back to Josephine Baker, who was a star at the Moulin Rouge.”

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By Catherine Pugh

Special to the AFRO

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

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

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

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

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

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

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

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

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

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

Network was among her most ardent fans.

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

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

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

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

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

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

Her presence in the community will surely be missed.

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

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

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

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By Ericka Alston Buck 
Special to the AFRO 

Audiences are awaiting Tyler Perry’s new movie, “Six Triple Eight,” featuring Kerry Washington, but the Netflix movie isn’t the only thing in the works to remember the courageous Black women of WWII. The women of the 6888th Central Postal Directory Battalion will also be the subjects of a play coming to Broadway.

Recently, the AFRO had the opportunity to sit down with part of the creative team producing “Six-Triple-Eight, A New Musical.”

At the helm of this groundbreaking musical co-created by Holly Garman and Joe Trentacosta, is a team of visionary talents. The script is written by Morgan J. Smart, with music and lyrics by Ronvé O’Daniel and Jevares C. Myrick. “Six-Triple-Eight” promises to be a captivating fusion of storytelling and music. Ret. US Army Col. Edna Cummings, who was named AFRO person of the Year in January, serves as historian for the production, providing invaluable insights. The musical is executive produced by Blair Underwood, the internationally known stage and film star. 

In a recent interview, Smart shared her journey in bringing this remarkable story to life. Reflecting on her initial encounter with the tale of the 6888th Battalion, Smart expressed her immediate fascination and the profound impact it had on her. She delved deep into research, drawing inspiration from the stories of these trailblazing women and their quest for freedom amidst the constraints of Jim Crow America.  

“I actually did not know a thing about this unit these Black women being a part of World War II at all. When I was approached by the producers, Holly and Joe, I was immediately interested,” said Smart.  “I immediately jumped into research and wanted to know more about them.” 

As she delved deeper into the history of the 6888th Central Postal Directory Battalion, Smart was struck by the profound significance of their experience and “the fact that these women were able to experience a freedom that they’d never gotten before in Jim Crow America.” 

She highlighted their unprecedented opportunity to work in military positions, receive badges of honor and be celebrated by a whole different country. This newfound sense of freedom allowed them to explore, travel and contribute to the war effort in ways that were previously unimaginable.

The process of adapting such a rich historical narrative into a musical presented both challenges and opportunities for Smart and her team. 

“I had to sift through the parts of the history that were found to be particularly important and extremely interesting,” Smart told the AFRO. 

With a wealth of research at their disposal, they navigated the delicate balance of honoring the truth while crafting an engaging and entertaining narrative. Through meticulous attention to detail and a commitment to authenticity, they endeavored to shine a light on the multifaceted experiences of Black women during wartime.

Central to the heart of “Six-Triple-Eight” is the celebration of Black womanhood in all its complexity. Smart aims to challenge stereotypes and showcase the myriad dimensions of strength, resilience, and joy embodied by the women of the 6888th. Through their journey, audiences will witness a powerful affirmation of identity and a testament to the enduring spirit of sisterhood.

“It’s a story about Black women who contributed to the war effort. I think that’s just a huge push in the right direction and having them be honored and known for that achievement,” said Smart. “We’ve been working as closely as possible with some of the families of surviving members to make the story as true as possible, and to get it to audiences in a way that they’re able to really absorb .”

As anticipation builds for the premiere of “Six-Triple-Eight: A New Musical,” audiences can expect to be transported on a journey of discovery and inspiration. With its infectious melodies, compelling storytelling, and powerful themes of courage and resilience, this musical promises to leave an indelible mark on the hearts and minds of all who experience it.

In honoring the legacy of the 6888th Battalion, “Six-Triple-Eight: A New Musical” not only pays tribute to the past but also serves as a beacon of hope for the future. It is a reminder that even in the face of adversity, the human spirit remains unbreakable, and the voices of those who have been silenced will always find a way to be heard.

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Sponsored by JPMorgan Chase & Co.

All communities should have the resources they need to strengthen their economic futures. This Black History Month, JPMorgan Chase is affirming their commitment to breaking down barriers — including the racial wealth gap — and promoting opportunity for all.

In recognition of Black History Month, we connected with Thelma Ferguson, Global Head of Diversity, Equity & Inclusion and Vice Chair, Commercial Banking at JPMorgan Chase, to get her insights on how she’s celebrating Black History Month, how JPMorgan Chase is advancing equity and inclusion and what she hopes to achieve in the year ahead.

1. Tell us a little about yourself and your role at JPMorgan Chase? 

The majority of my 25-year tenure at JPMorgan Chase has been in Commercial Banking, providing clients with the financial solutions they need to grow their businesses. Yet, no matter what my role was, I have always been focused on driving inclusion and equity.

Today, as the Global Head of Diversity, Equity and Inclusion, I’m proud to look after our leading strategies to uplift employees, clients and the communities we serve as the bank for all. I also continue to serve as Vice Chair for Commercial Banking, building and managing key client relationships from coast to coast.

• What does Black History Month mean to you and how are you celebrating?
  
  

Black History Month is an important opportunity to reflect on the achievements and struggles of our Black communities. To me, this means honoring the immense reach, depth and richness of Black communities’ global history, in addition to its connection and intersection with other communities. At JPMorgan Chase, we organize events and activities to honor the designation, highlight Black history and culture, and enable impactful conversations and opportunities to continue our commitment to help create more equitable pathways for all.

• How is JPMorgan Chase working to advance a more inclusive economy?

We believe that we are only as strong as the communities we serve and the economies they support. We also understand that our company can play a role in helping communities grow, driving local economies, and helping people build their prosperity.

We’re helping to power economic growth by breaking down barriers and creating opportunities in communities across the globe. We do that through a focus on advancing diversity, equity and inclusion within our own workforce, as well as through business and community investments and policy advocacy.

•  How has your company’s Diversity, Equity & Inclusion strategy evolved over the past couple of years as the spotlight has been put on the country’s lingering racial inequality and social injustice issues?

We’re working to address inequities, including the racial wealth gap, in a meaningful way. Our efforts to support inclusive growth dates back decades. One more recent example is our $30 billion, five-year Racial Equity Commitment (REC) focused on advancing sustainable homeownership, driving small business growth, bolstering financial health and expanding access to banking. Through this commitment, we’re helping to create greater access to affordable home loans, low-cost checking accounts and financial health education workshops in the communities we serve and particularly in historically underserved neighborhoods. Our goal is to help close the racial wealth gap and ensure all members of communities – including our own employees – can access the resources they need to strengthen their economic futures.

• How should other companies and individuals be thinking about diversity, equity and inclusion as it relates to the growth of their business?

Inequity stifles economic growth. If you start with that fact, it becomes clear how engaging more communities and helping to create more equitable opportunities is just smart business. Diversity, Equity and Inclusion are not buzzwords. Their tenets should be core ingredients in the design and execution of your business strategies and run with the same commitment and rigor as other parts of your business.

• What are your goals for this year and what are you looking forward to in 2024?

This year, my goals include deepening our culture of inclusion for our 300,000 employees, across all backgrounds and geographies and perspectives. I’m also focused on further embedding inclusive practices and solutions within JPMorgan Chase to inform our business, gain efficiencies and deepen impact. I am optimistic about the road ahead and continued progress in helping to lift all.

SPONSORED BY JPMORGAN CHASE

Learn more about JPMorgan Chase

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By Ericka Alston Buck,
Special to the AFRO

In a celebration of culture, empowerment and community, the Black Arts District (BAD) recently convened for its annual community meeting at the New Song Community Center in Sandtown. At the heart of their mission lies a commitment to use an anti-displacement framework to empower Black creatives and contribute to the ongoing community-based revitalization efforts in West Baltimore through culture, arts and entertainment.

New Song Community Center was packed with a diverse audience. Attendees included staff, board members, local artists, students, investors, supporters and stakeholders, all coming together to celebrate the achievements of the past year and outline the ambitious goals for the future.

One of the focal points of the evening was the presentation of the Black Arts District’s annual report, a testament to the organization’s impactful work in the community. The report showcased impressive accomplishments, demonstrating the agency’s commitment to its mission and the tangible results of their efforts.

At the meeting, the agency reported that In the previous year, the Black Arts District hosted events that drew an impressive 10,397 attendees, highlighting the community’s enthusiasm for the arts. The agency provided a substantial $242,080 in funding to support Black creatives, fostering a nurturing environment for artistic endeavors within the community. This financial support was complemented by the training of 696 artists, demonstrating a commitment to education and skill development within the creative community.

A total of 147 curated events further enriched the cultural vibrancy of West Baltimore, showcasing the diversity of artistic expression and attracting a broad audience. The Black Arts District’s impact extended to supporting 769 artists, emphasizing its role as a pillar of encouragement for the local creative community.

The agency also secured 119 community sponsorships, highlighting collaboration and partnership within the community. Beyond mere numbers, the Black Arts District celebrated a milestone by awarding its first $20,000 Emerging Artist Fellowship. The money will go. Long way in recognizing and supporting emerging talents within the community. Additionally, a significant $140,000 from the creative community sponsorship fund was dispersed to further enhance the cultural landscape of West Baltimore.

The evening commenced with a powerful spoken word performance by local artist Black Chakra, whose original piece titled “Love Me Black” set the stage for a thought-provoking, enlightening and promising event. Lady Brion, the executive director of BAD, intentionally took a back seat during the evening, choosing to applaud the collective efforts of her team and the board.

Dayvon Love, who serves as director of public policy for the local think tank Leaders of a Beautiful Struggle, is also chairman of the board for the Black Arts District. 

“The purpose of the annual meeting of the Black Arts District is to provide the community an opportunity to learn about the work that the organization is doing and to ask questions directly to those in the organization,” said Love. “We hope that those who attended will find ways to connect to the work of BAD.”

During the event, Brion Gill, known as “Lady Brion,” outlined the ambitious goals of the nonprofit organization, geared towards supporting and cultivating a space for local artists to be seen, showcased, and supported. A standout initiative is the development of the “Sanaa Center,” Swahili for “work of art.” This state-of-the-art, multi-million-dollar headquarters aims to provide a thriving space for local art. With a $16 million price tag, the organization has already raised an impressive $3 million towards this transformative project.

The Black Arts District’s annual meeting was not just a reflection on past achievements but a promising glimpse into the future.

The organization’s commitment to empowering Black creatives, fostering community-based revitalization, and providing a platform for artistic expression is a beacon of inspiration for Baltimore’s cultural landscape. As Lady Brion and her team look towards the realization of the “Sanaa Center,” BAD continues to be a driving force in shaping a vibrant and inclusive arts community in West Baltimore for good. 

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By Ericka Alston Buck,
Special to the AFRO

The 96th Annual Academy Awards will take place on March 10 in Los Angeles at the Dolby Theatre and the film industry’s Black talent will be on full display. 

In the past year, a host of extraordinary African-American nominees have garnered the spotlight in leading and supporting acting roles, as well as in a host of other capacities. 

“The Color Purple” was a blockbuster hit, introducing a whole new audience to the beauty of musicals. As a result, Danielle Brooks is currently nominated for her work in the reboot. She is vying for the award for best supporting actress this year. Da’Vine Joy Randolph, seen in “The Holdovers” is in the same category, along with America Ferrera, for her work in “Barbie.” They will all face off against Jodie Foster, who appeared in Nyad. 

For men on the big screen, Sterling K. Brown is a nominee, looking to take home the prize for best actor in a supporting role for his performance in “American Fiction.”

Colman Domingo made headlines for taking on the role of civil rights giant Bayard Rustin, in the movie “Rustin,” which premiered on Netflix. He is nominated for best actor in a leading role, along with Bradley Cooper, Paul Giamatti, Cillian Murphy and Jeffrey Wright. 

Wright, another popular Black actor with decades of film and television titles to his name, is up for the best actor in a leading role category for his work in “American Fiction.” Wright’s career has included shows like HBO’s Westworld, the movie “Cadillac Records” and the Broadway stage productions of “Topdog / Underdog.” He gained critical acclaim for his appearance in the film version of the play “Angels in America.” 

Beyond the spotlight of the acting categories, African Americans are making significant contributions to the cinematic landscape in various capacities. 
Notable nominees such as Jon Batiste, whose original song “It Never Went Away” from “American Symphony” earned a nod, exemplifying the richness and diversity of Black creativity. Other African Americans nominated for Oscars behind the scene include: “Spider-Man: Across the Spider-Verse” for best animated feature; “Bobi Wine: The People’s President” for best documentary feature; “The ABCs of Book Banning” for best documentary short; and “The Barber of Little Rock” for best documentary short.

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By Sabreen Dawud,
Special to the AFRO

Earlier this year the American Federation of State, County and Municipal Employees (AFSCME) announced their NAACP Image Award nomination for the I AM Story podcast. The podcast has been nominated in the Outstanding Limited Series/Short Form category. 

Released in April 2023, the I AM Story is centered around the 1968 Memphis Sanitation Strike. Hosted by Lee Saunders, AFSCME president, each episode highlights an individual who participated in the historic strike. The podcast allows guests space to express their personal experiences in a way that invites listeners into the realities of African-American laborers in the 1960s during the Civil Rights Movement. 

“It was really terrible conditions they were under. They weren’t allowed often to take showers even in the facility where they worked. They’d have to go home and you got to realize they’ve been handling garbage all day so that’s number one and sometimes they’d even have maggots on their clothes,” said Lon Walls, senior communications council for AFSCME. 

I AM Story also invites perspectives from individuals currently working in the sanitation industry, shedding light on parallels these workers have found between their experiences today and the experiences of those participating in the sanitation strike.

“You’re looking at Black men who were being treated very poorly in the first place just wanting to have some rights and to have a pay raise like anybody else. I say all that to say that on their backs, those are the true civil rights warriors. On their backs, we rise,” Walls remarked.

The 55th NAACP Image Awards will highlight the podcast in a non-televised ceremony. The categories not set to be broadcasted will be recognized from March 11 to March 14 others will air on Saturday, March 16 at 8 p.m. on BET and CBS. 

“I felt like it was so educational,” expressed Rosita Gabourel, a listener of the I AM Story podcast.

“Just to hear that those guys are still dealing with issues and how one guy got laid off during the pandemic. It was just terrible to hear. I couldn’t believe they are still dealing with that,” she continued. 

The series notes the involvement of well-known civil rights activist Dr. Martin Luther King Jr. in the Memphis Sanitation Strike. As several African-American sanitation workers organized a protest to demand higher pay and eliminate inadequate work conditions, King was drawn to their activism and went to Memphis to support the cause. This marked the last cause King would participate in. While staying at The Lorraine Motel, King was assassinated during his time in Memphis. 

“We are proud to tell the story of the fearless strikers in Memphis who marched with Dr. King, and we are honored to count them as members of our union family,” shared Saunders in a AFSCME press release.

“We can never forget the sacrifices they made to ensure that everyone receives dignity and respect on the job. At a moment when issues of racial and economic justice are again front and center, recognizing the Memphis strikers will inspire the next generation to continue speaking out against inequality wherever they see it,” Saunders continued.  

The podcast has released five, full-length episodes ranging from 30 minutes to an hour. Listeners can access the I AM Story from several platforms including Spotify, Apple Podcasts, Google Podcasts, Pandora and iHeart Radio. 

For more information on the “I AM Story” podcast, visit their website www.iamstory.com. 

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By Gene Lambey,
Special to the AFRO

Rev. Lee Michaels has retired after over 40 years as a gospel radio host for “The Morning Experience” on Baltimore’s Heaven 600 radio station. 

Michaels, who officially retired on Dec. 31, 2023, told the AFRO that his time as host of Heaven 600 “The Morning Experience” was “fun and fulfilling.” 

As a retired radio host, Michaels plans to continue his work as a voice for the Baltimore community. He also looks forward to continuing his ministry in the Christian faith at Manifest Wonders Christian Center. And then there are plans on writing a book about his life and his journey. 

Michaels celebrated his retirement at the Empowerment Temple AME Church in Baltimore on Feb. 18. 

The AFRO had the opportunity to speak with Michaels about his journey to becoming one of Baltimore’s most renowned figures on gospel radio. Raised in the Perkins Homes public housing project  in east Baltimore, which at the time was known as “the Bottom,” Michaels knows a thing or two about working his way to the top.

“Geographically, it was called ‘the Bottom’ because it was the lowest point of public housing before you got to the undeveloped area towards the waterfront,” Michaels recalled. Perkins Homes was rough and tumble development where his mother raised him in a single parent household. 

“All of the trappings that come with living in an economically depressed area and the behaviors that go along with that–all of that was what I had to face and I was able to get out,” said Michaels.

He grew up listening to many radio personalities like “Fat Daddy,” Kelson “Chop Chop” Fisher, Sir Johnny O and many other early 70’s Baltimore radio hosts. However, the first radio host that took Michaels “under his wing” was Maurice “Hot Rod” Hulbert.  

“These guys were bigger than life to me. They really inspired me through the years. To finally find myself sitting in that chair that I admired–that was fun,” said Michaels. 

He recalls his time working in the radio industry as fulfilling because of his faith. While there were bumpy periods, he said he ultimately found his “way back to a place of faith” through the experiences bestowed upon him. One such opportunity came on a Sunday evening while eating dinner alone, the words of a radio evangelist encouraged him to combine his skill sets from the Air Force, the Army Reserves, brief studies at Coppin State University and the Broadcasting Institute of Maryland (BIM) to get into broadcast radio. 

His first broadcasting job was with WCEM/WESP-FM Cambridge, Md.  radio station in Maryland’s Eastern Shore. The FM genre was rock. The AM genre was big band. Both arenas featured music formats he “knew nothing about,” he said. 

“I tell everybody to this day that was the best thing that could’ve happened to me,” Michaels told the AFRO. The circumstances of his new opportunity forced him to study and adapt, learning how to present the genres to listeners. 

He organized a handful of disc jockeys who worked at four clubs in Baltimore. Through that group–the Disco Knights–he made contacts with music producers and learned the ins and outs of the broadcast music industry, eventually meeting key players in the upcoming rap music industry. in the early 80’s. Among the new connections was a relationship with New York City record producer who would become the famous business mogul, Russell Simmons. 

Though the thrills of mainstream radio were ever-present, eventually Michaels answered a higher calling and decided to move into gospel radio. He got his start in Christian radio under Pastor Naomi DuRant at WBGR, but it was his time at Heaven 600 that has made Michaels a household name in Christian homes and cars across the area. 

Today, streaming has become the new normal for the radio industry and through it Heaven 600 has forged a global outreach. Michaels said connection with organizations like the Gospel Announcer’s Guild, out of the Gospel Music Workshop of America, allowed him to understand the impact of technology.

“You must always keep in mind that your presentation in radio has to be one dimension better than the accepted practice in radio–which is information and entertainment,” said Michaels. “We understand that people come for those two things.”

Now that his time on air is done, Michaels told the AFRO he looks back with gratitude and can only hope he has been a good example to others.

“Having had this opportunity to live what I call a ‘fulfilling life,’ and a fulfilling career, I would hope that my journey and my story in some way, form or fashion as a source of encouragement and a reminder that God does still honor faithfulness–if you are true to your commitment,” said Michaels. “Live a godly life, God will reward it. I really believe that because that is what I lived.”

Gene Lambey is a resident of Washington D.C. He is writing for the community.

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By Ericka Alston Buck,
Special to The AFRO

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

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

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

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

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

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

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

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

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

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By Layla Eason,
Special to the AFRO

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

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

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

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

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

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

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

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

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

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

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

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

The Associated Press

NEW YORK (AP) — Former talk show host Wendy Williams is thanking well-wishers for their response to the revelation that she has been diagnosed with dementia and ahead of the airing of a Lifetime documentary about her struggles.

“I want to say I have immense gratitude for the love and kind words I have received after sharing my diagnosis of Aphasia and Frontotemporal Dementia (FTD). Let me say, wow! Your response has been overwhelming,” Williams said in a statement released to The Associated Press through a representative for her care team. “The messages shared with me have touched me, reminding me of the power of unity and the need for compassion.”

Williams’ statement came a day after her team revealed the 59-year-old has been diagnosed with primary progressive aphasia and frontotemporal dementia.

It also came hours after a New York judge ruled that Lifetime’s “Where is Wendy Williams?” documentary will air this weekend as scheduled. The order signed by an appellate judge, who was reviewing a petition to block the documentary’s release, says such a ruling would be an “impermissible prior restraint on speech that violates the First Amendment of the U.S. Constitution.”

The ruling clears Lifetime’s two-night broadcast plan for “Where is Wendy Williams?,” which includes footage of the former talk show host and interviews.

An attorney for Williams’ guardian did not immediately return an email seeking comment Feb. 23.

“Lifetime appeared in court today, and the documentary ‘Where is Wendy Williams?’ will air this weekend as planned,” the network said in a statement.

“I continue to need personal space and peace to thrive,” Williams said in her statement Friday. “Please just know that your positivity and encouragement are deeply appreciated.”

She credited the Association for Frontotemporal Degeneration for its support and efforts to educate the public about the disease, which is the same form of dementia Bruce Willis has, after her diagnosis was announced.

Frontotemporal dementia is a rare disease that affects parts of the brain controlling behavior and language. These parts of the brain shrink as the disease gets worse. The disease often includes primary progressive aphasia, which means it’s causing problems with language skills. A person with this type of FTD may have trouble finding words or understanding speech.

Williams’ self-titled daytime talk show ended in 2022 because of her health issues. Sherri Shepherd, who filled in for Williams as a guest host, received her own show.

Williams said in 2018 that she had been diagnosed years before with Graves’ disease, which leads to the overproduction of thyroid hormones and can cause wide-ranging symptoms that can affect overall health. The statement from Williams’ care team said Williams’ dementia diagnosis happened in 2023.

People magazine reported in a cover story on Williams this week that some family members say they don’t know where she is and cannot call her themselves, but that she can call them.

The article said the Lifetime documentary crew, which set out in 2022 to chronicle Williams’ comeback, stopped filming in April 2023 when, her manager “and jeweler” Will Selby says in footage for the film, she entered a facility to treat “cognitive issues.” Her son says in the documentary that doctors had connected her cognitive issues to alcohol use, People reported.

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By Layla Eason 
Special to the AFRO

Creative Alliance recently selected Jason Steer as the new executive director. The organization released a statement on the decision to have Steer join Creative Alliance after a career at New York’s renowned Apollo Theatre, where he held a variety of senior leadership positions in programming, education, and youth development. 

With more than 20 years of experience, Steer stands out for his dedication to community involvement, inclusion, strategic program development, and building partnerships throughout his career such as talent development on and off-screen.

“Baltimore presents an exhilarating opportunity for me to merge my personal journey with the diverse narratives of the city,” Steer said on his appointment. “As a creator, an immigrant, and a Black man, I’ve navigated the complexities of being misunderstood, and I’ve witnessed firsthand the transformative power of art in giving voice to the voiceless.”

Steer is an inclusivity advocate who uses his innovative thinking to amplify voices that are often silenced, making sure their voices are heard, respected, and empowered. He has a degree in studio art with a concentration in sociology, which gives him a deep understanding of the relationship between art and culture. This allows him to interact with people who are interested in the arts from different cultural backgrounds.

During Steer’s tenure at the Apollo, he was a key contributor to the development of the Apollo’s comprehensive arts & entertainment succession pipeline program, which enabled the development of up-and-coming artists in the arts while fostering strong community connections.

Steer has joined Creative Alliance to create a season-long series of three disciplines: roots of creativity, live out loud, and feel the rhythm. One of the featured events is the Baltimore Crankie Festival which is a hand-cranked and scrolling panoramic storytelling event featuring live music. The event is set to return in May. 

Another event is the Great Halloween Lantern Parade and Festival which is celebrating its 25th anniversary and will also be held in May. The final event is the Walk By On exhibition, a collaboration between Baltimore artists and Charm City’s sister city of Rotterdam, the Netherlands. During this event, there will be a series of movement, culinary courses, and creative arts classes in the Creativity Center. 

“In Baltimore, with its rich cultural tapestry, I see a canvas where art can be a bridge, connecting diverse experiences and fostering deeper understanding beyond words,” Steer said. “My aspiration is to contribute, even in modest ways, to amplifying the voices of artists and their creations in this vibrant community, championing their stories as they shape the city’s unique identity.” 

Creative Alliance’s five-year strategic plan focuses on developing programs that promote personal growth and self-empowerment, social cohesion and community, and career development for artists.

The alliance’s state-of-the-art Creativity Center opened in November 2022, offering a variety of courses and workshops for teens and adults, as well as free after-school programs for low-income families. 

In 2024, Amy Seto, Brown Advisory Partner and longtime Creative Alliance patron and supporter, will take office as the organization’s board president. 

“We are thrilled to welcome Jason Steer to Creative Alliance and to Baltimore. Jason brings to us his vision and experience in spearheading impactful initiatives and cultivating strategic collaborations. He will lead our beloved staff and organization to new heights,” Seto said. 

The Baltimore community will benefit from Steer’s breadth of experience, creative leadership, and dedication to service. Steer’s story continues to be an example of how arts and culture can positively impact lives and communities.​

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By Michayla Maxwell,
Special to the AFRO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Brackett said community programming is crucial.  

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

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By Special to the AFRO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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By Russ Bynum,
The Associated Press

SAVANNAH, Ga. (AP) — Michael Thurmond thought he was reading familiar history at the burial place of Georgia’s colonial founder. Then a single sentence on a marble plaque extolling the accomplishments of James Edward Oglethorpe left him stunned speechless.

Within a lengthy tribute to the Englishman who died in 1785, the inscription read: “He was the friend of the Oppressed Negro.”

Oglethorpe led the expedition that established Georgia as the last of Britain’s 13 American colonies in February 1733. Thurmond, a history aficionado and the only Black member of a Georgia delegation visiting the founder’s tomb outside London, knew Oglethorpe had tried unsuccessfully to keep slaves out of the colony. Historians widely agreed he was concerned for the safety and self-sufficiency of White settlers rather than the suffering of enslaved Africans.

Could Georgia’s White founding father possibly have been an ally to Black people in an era when the British Empire was forcing thousands into bondage?

“It was stunning,” Thurmond recalled. “Initially, I was consumed by disbelief. I didn’t believe it was true.”

Thurmond would grapple with questions raised by that visit for the next 27 years, compelled to take a closer look at Oglethorpe. Now he has written a provocatively titled book: “James Oglethorpe, Father Of Georgia — A Founder’s Journey From Slave Trader to Abolitionist.”

Published this month by the University of Georgia Press, Thurmond’s book makes a case that Oglethorpe evolved to revile slavery and, unlike most White Europeans of his time, saw the humanity in enslaved Africans. And while Oglethorpe’s efforts to prohibit slavery in Georgia ultimately failed, Thurmond argues he left a lasting — and largely uncredited — legacy by influencing early English abolitionists.

“He is shining a spotlight on the part of Oglethorpe’s life that most people have kind of thought was just periphery,” said Stan Deaton, senior historian for the Georgia Historical Society. “I think he’s thought deeply about this. And let’s be honest, there have not been many African-Americans who have written about colonial Georgia and particularly about Oglethorpe.”

Though this is Thurmond’s third book about Georgia history, he’s no academic. The son of a sharecropper and great-grandson of a Georgia slave, Thurmond became an attorney and has served for decades in state and local government. His 1998 election as state labor commissioner made Thurmond the first Black candidate to win statewide office in Georgia without first being appointed. He is now the elected CEO of DeKalb County, which includes portions of Atlanta.

His book traces Oglethorpe’s origins as a wealthy Englishman who held a seat in Parliament and served as deputy governor of the slave-trading Royal African Company before departing for America. Thurmond argues that seeing the cruelty of slavery firsthand changed Oglethorpe, who returned to England and shared his views with activists who would become Britain’s first abolitionists.

“What I tried to do is to follow the arc of his life, his evolution and development, and to weigh all of his achievements, failures and shortcomings,” Thurmond said. “Once you do that, you find that he had a uniquely important life. He helped breathe life into the movement that ultimately destroyed slavery.”

In its early years, Georgia stood alone as Britain’s only American colony in which slavery was illegal. The ban came as the population of enslaved Africans in colonial America was nearing 150,000. Black captives were being sold in New York and Boston, and they already outnumbered White settlers in South Carolina.

Historians have widely agreed Oglethorpe and his fellow Georgia trustees didn’t ban slavery because it was cruel to Black people. They saw slaves as a security risk with Georgia on the doorstep of Spanish Florida, which sought to free and enlist escaped slaves to help fight the British. They also feared slave labor would instill laziness among Georgia’s settlers, who were expected to tend their own modest farms.

It didn’t last. The slave ban was widely ignored when Oglethorpe left Georgia for good in 1743, and its enforcement dwindled in his absence. By the time American colonists declared independence in 1776, slavery had been legal in Georgia for 25 years. When the Civil War began nearly a century later, Georgia’s enslaved population topped 462,000, more than any U.S. state except Virginia.

“At best, you could say Oglethorpe was naive,” said Gerald Horne, a professor of history and African-American studies at the University of Houston and author of the book “The Counter-Revolution of 1776.” “Almost inevitably, like kudzu in the summer, slavery started spreading in Georgia.”

Like other historians, Horne is highly skeptical of Oglethorpe being a forefather of the abolitionist movement. He says the Georgia colony ultimately protected slavery in its sister colonies by serving as a “white equivalent of the Berlin Wall” between South Carolina and Spanish Florida.

Oglethorpe used slave labor to help build homes, streets and public squares in Savannah, the colony’s first city. Escaped slaves captured in Oglethorpe’s Georgia were returned to slaveholders. Some colonists angered by the slave ban made unproven accusations that Oglethorpe had a South Carolina plantation worked by slaves.

Thurmond’s book openly embraces such evidence that Oglethorpe’s history with slavery was at times contradictory and unflattering. That makes his case for Oglethorpe’s evolution even stronger, said James F. Brooks, a University of Georgia history professor who wrote the book’s foreword.

“He has engaged with the historiography in a way that is clearly the equivalent of a professional historian,” Brooks said. “This is good stuff. He’s read everything and thought about it. I don’t see any weakness in it.”

Thurmond’s evidence includes a letter Oglethorpe wrote in 1739 that argues opening Georgia to slavery would “occasion the misery of thousands in Africa.” Thurmond describes how Oglethorpe assisted two formerly enslaved Black men — Ayuba Suleiman Diallo and Olaudah Equiano — whose travels to England helped stir anti-slavery sentiments among White Europeans.

Oglethorpe befriended White activists who became key figures in England’s abolitionist movement. In a 1776 letter to Granville Sharp, an attorney who fought to help former slaves retain their freedom, Oglethorpe proclaimed “Africa had produced a race of heroes” in its kings and military leaders. He also spent time with the author Hannah More, whose writings called for the abolition of slavery.

In 1787, two years after Oglethorpe’s death, Sharp and More were among the founders of the Society for the Abolition of the Slave Trade. Thurmond argues Oglethorpe deserves credit as an inspiration to the budding movement.

“He founded slave-free Georgia in 1733 and, 100 years later, England abolishes slavery,” followed by the U.S. in 1865, Thurmond said. “He was a man far beyond his time.”

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By Black PR Wire

(Black PR Wire) – The Smithsonian American Women’s History Museum has announced an exciting lineup of new initiatives for Women’s History Month March 2024 that will further the museum’s mission to make women’s history more visible. These initiatives mark an important step as the museum enters the next phase of research and programming that will eventually inform the collection and a physical site in Washington, D.C.

The museum’s headline program for Women’s History Month will be “Becoming Visible,” an interactive digital exhibition launching March 8 on International Women’s Day. The exhibition will invite audiences into the work of the Smithsonian American Women’s History Museum that spotlights how women’s histories have been recorded, remembered, lost and recovered.

Five remarkable stories of women from the past will come to life through objects from the Smithsonian’s collection, archival records, recorded interviews and original illustrations and animations. Curators will narrate each of the five stories, alongside an introduction narrated by actress, designer and producer Rosario Dawson, who serves on the museum’s advisory council. The exhibition will demonstrate how women’s history is often obscured or forgotten—and the critical need to uncover these stories to create a more accurate and inclusive record of American history.

The lack of women’s representation in major databases is another key obstacle to ensuring women’s history is not lost as less than 20 percent of biographies on English-language Wikipedia are about women. To confront this issue, the Smithsonian American Women’s History Museum will host a Wikipedia Edit-a-Thon March 27 where attendees will edit and create Wikipedia articles about the women represented in “Becoming Visible,” among others.

“This Women’s History Month we are excited to introduce audiences to the future of what will truly be the first national museum to honor American women’s history,” said Melanie Adams, interim director of the museum. “While our museum is still in its early stages, we are already activating our digital platforms, championing new research and engaging the wider Smithsonian community to begin the critical work of making women’s history fully visible. We invite everyone, from all backgrounds and walks of life, to collaborate with us as we build a museum that will inspire generations to come.”

The museum’s other initiatives throughout Women’s History Month include the launch of the Spotlight Program that will invite filmmakers to collaborate with the museum to share women’s stories from their communities and a charter membership program for the public to get involved with the museum as it is built from the ground up. Further details on the Women’s History Month initiatives are included below.

• Charter Membership Program | Launching March 1: With this inaugural membership program, the public can help make history by becoming some of the first supporters of the museum’s mission. Charter Members will get early access to events and programs and be the first to know about the museum’s progress. Learn more on the museum’s website.
• Digital Exhibition: “Becoming Visible” | Launching March 8: Available on the museum’s website, the 10-minute digital experience created by the woman-led digital design firm Forum One will take audiences on a visual and emotional journey through five women’s lives, including Elizabeth Keckly, a memoirist and formerly enslaved woman who became a lauded seamstress and dressmaker to Mary Todd Lincoln; Margaret Knight, a 19th-century inventor who automated the production of flat-bottomed paper bags; Hisako Hibi, a Japanese American artist who lost much of her work after spending over three years in government detention during World War II; Isabel Morgan, a scientist who was instrumental in the development of the polio vaccine; and Hazel Fellows, a seamstress who worked on the Apollo space suits. A virtual inside look into the exhibition with Smithsonian curators will take place March 14 at 3 p.m. ET. Learn more on the museum’s website.
• Spotlight Program | Launching March 18: The museum will invite up and coming filmmakers from communities across the country to develop short videos that document important histories of women and girls who have been underrecognized in the historical record. This program will be the first of several co-creation projects that will engage artists from a variety of backgrounds and disciplines to collaborate with the museum to tell women’s stories.
• Wikipedia Edit-a-Thon | Launching March 27: Less than 20 percent of biographies in English-language Wikipedia are about women. The Smithsonian American Women’s History Museum is helping to change this with a Wikipedia Edit-a-Thon during Women’s History Month. Attendees will edit and create Wikipedia articles about American women represented in the museum’s digital exhibition, “Becoming Visible,” among others. New editors who have never contributed to Wikipedia before will receive on-site training. This event is presented with support from Wikimedia DC.

About the Smithsonian American Women’s History Museum

The Smithsonian American Women’s History Museum expands the story of America through the often-untold accounts and accomplishments of women—individually and collectively—to better understand our past and inspire our future. Through new scholarship, diverse viewpoints and innovative forms of exhibition, storytelling and participation, the museum inspires the next generation to create a more equitable world. The legislation creating the Smithsonian American Women’s History Museum passed Dec. 27, 2020, and the museum is working with Congress to finalize a site for a building. Connect with the museum at womenshistory.si.edu.

Source: Smithsonian American Women’s History Museum

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

Originally beginning as a trio in 1925, The Four Step Brothers formed a legendary tap dancing group that is still revered almost a century later. Maceo Anderson, founder of The Step Brothers, always took a liking to dance. As a young boy living in Los Angeles, he used to sneak into the Lafayette Theatre to watch and mimic dance routines alongside his friends. 

At the ripe age of 15 years old, Anderson recruited Al Williams and Red Walker to form what was originally known as The Step Brothers. To avoid confusion with another young, high-profile tap dancing crew with the same name, they changed their name to “The Three Step Brothers.” When Sherman Robinson was added to the team, they adopted the name “The Four Step Brothers.” 

The quartet began their journey traveling with world-renowned musician Duke Ellington. The group would regularly show off their talents performing at the prestigious Cotton Club in Harlem, N.Y. in their early years. The Four Step Brothers are credited with being the first Black act to perform at Radio City Music Hall, something they did perennially for a whole decade. However, their performances wouldn’t be confined solely to New York. As a matter of fact, they “tapped” their way across the globe a reported four times. 

“I learned about The Four Step Brothers a few years back in my high school dance history class. The Four Step Brothers for many years broke barriers in dance and they’re a part of Black history. The Four Step Brothers are known for their integration of dance moves,” said former dancer Joslyn Smith, a student of University of Maryland, College Park. 

The Four Step Brothers were revered for their complex dance moves in which they incorporated rhythm tap, straight acrobatics, blues dancing and the camel walk, which was a move heavily used by singer and songwriter James Brown when he would perform. One of the signature parts of their performances were when they would do “challenge dances.” The Four Step Brothers would each do a solo while the other three would stand back and make a beat themselves by stomping their feet and clapping their hands. Each dancer’s goal was to outdo the other three. 

The Four Step Brothers would go on to perform for former presidents Harry Truman and Dwight D. Eisenhower. They also had an appearance on The Ed Sullivan Show. The “Brothers” ended up being one of the longest-lasting dance groups in history as they would perform together for more than four decades, when founder Anderson was in his 50s. 

“Being a part of art during the period of the Harlem Renaissance spoke volumes. put them in places like the Cotton Club and allowed them to perform in a series of movies,” said Smith. “Using those skills really set them apart, increased their business as a dance team and gave them the opportunity to appear in more movies and music.”

The Four Step Brothers received two Lifetime Achievement Awards on behalf of the Dance Masters of America. They received their first in 1960 and then the latter in 1985 for breaking the color barrier in dance. Three years later, in 1988, The Four Step Brothers were honored with a star on the Hollywood Walk of Fame.

Although the group stayed together for almost 40 years, the brothers that made up the group did change a few times. Edward Bozeman was one of the more notable additions to the group. He had danced professionally previously and went by the nickname “Prince.” 

Bozeman would typically dance last and was particularly known for his acrobatics and flips. One of the great things about The Four Step Brothers is that they would always allow each other to do in their own style. Bozeman, likely due to his energy and athleticism, remembers other members thinking he was a kid when in all actuality he was 35 years old when he joined the group.

 In 1968, the final addition to the group was a then 10-year-old kid who was only in the fourth grade when he got recruited to join the crew. Terry Criner, who was also known as “Little Terry,” had a dance style that was very similar to Bozeman’s, but Criner came with even more energy and more advanced tricks such as no-hand head flips. Criner would even incorporate break dancing moves like head spins. Criner was taken under Anderson’s wing as the founder of The Four Step Brothers and Anderson would assist in refining Criners tap dancing so it could be up to par with his acrobatics. 

After some convincing from Anderson, Criner decided to continue to carry the baton and created a new dance group called Third Generation Steps. The group was made up of Criner, Cindy Notz and Ivery Wheeler. Third Generation Steps would see 11 years of success in the show business, but at the young age of 21, Criner decided to retire and with him went the Third Generation Step crew. 

Some of Anderson’s relatives decided to walk in the footsteps of his legacy and also pursue a career in dance. Robert L. Reed, who is the grandson of Anderson, actually became a dance professor and did a little bit of live performance himself. He went on to establish his own dancing school called Robert L. Reed Tap Heritage Institute, which is located in St. Louis, Missouri. He founded the St. Louis Tap festival in 1992 and on July 30, 2005, St. Louis mayor Francis Slay declared that day to be “Robert L. Reed Tap Heritage Day.”

The post The Four Step Brothers: Tapping into greatness through dance  appeared first on AFRO American Newspapers.

By Helen Bezuneh
Special to the AFRO

At the Oscars ceremony in 1940, African-American actress Hattie McDaniel was seated at a segregated table on the far side of the room at the Ambassador Hotel. A great distance from the table where her fellow “Gone With the Wind” cast members sat together. The host hotel had a firm no-Blacks policy and David O. Selznick, producer of her featured film, had to make a special call to even let McDaniel enter the building.

Still, McDaniel sat poised in a turquoise gown adorned in sparkling rhinestones, her hair ornamented with white gardenias, when the announcer for the best supporting actress award approached the stage and finally revealed the winner: Hattie McDaniel. In one fell swoop, she officially became the first African American to win an Oscar for her role as “Mammy,” a house slave for a wealthy White family, in “Gone With the Wind.”

“Academy of Motion Picture Arts and Science, fellow members of the motion picture industry and honored guests, this is one of the happiest moments of my life,” a teary-eyed McDaniel said during her acceptance speech. “I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel.”

As a daughter to formerly enslaved parents, McDaniel had an intimate understanding of the hardships faced by African Americans at the time. For her, the Oscar was not merely a personal achievement –– she saw it as a significant victory for the Black American community as a whole.

Her role in “Gone With the Wind,” however, was not without controversy.

 NAACP executive secretary Walter White and other civil rights leaders condemned McDaniel for taking on a role that reinforced stereotypes of African Americans as subservient and White-appeasing. McDaniel, however, held a different viewpoint, considering the inclusion of Black performers in major films a victory in itself.

“She ends up defending herself for taking that role, which many Black critics felt was disparaging – and it is,” Jill Watts, author of “Hattie McDaniel: Black Ambition, White Hollywood” told the AFRO. “But she defends herself not by saying ‘I read the book and turned the Mammy figure into this beautiful portrait.’ What she says is, ‘when I played it, I thought of people like Sojourner Truth, Harriet Tubman and my grandmother.’ She bases that role on the Black experience – at least that’s what she says.”

Though White held a different perspective, Watts argues that McDaniel was an activist in her own way. 

“She was the one that had the most abhorrent racial slur that we can think of removed from the script,” said Watts. “She refused to say that. It was in the script until the day she shot that scene – then it was gone after she appeared in the scene. So you see her kind of really constrained, but you also see her behind the scenes pushing here and pushing there.”

Born in Kansas in 1893, McDaniel was the thirteenth child of her parents, her father being a Civil War veteran and her mother a domestic worker. The family eventually moved to Denver, Colo., where McDaniel was one of only two black students in her elementary school class.

McDaniel’s mother would bring her along to work in white homes, where the eventual Oscar winner would witness her mother toil for measly earnings. It was during these experiences that McDaniel realized that she wanted to carve out a different future for herself.

In high school, she started singing, dancing and performing skits with her siblings in minstrel shows. She would eventually get a role in a road tour of the musical Show Boat, jumpstarting her professional acting career. 

According to Watts, McDaniel was a longshot for the role of Mammy in “Gone With the Wind.” Numerous Black actresses at the time, including Louise Beavers, vied for the coveted role, intensifying the competition.

“The dominant feeling was that Hattie McDaniel wasn’t serious enough to play that role,” said Watts. “There was a lot of resistance within the studio heads to cast her in that role because her performances were so bold. She’s so assertive in those roles and she makes those roles her own. She’s read by Hollywood as a comedic actress that you couldn’t possibly take seriously – a strong Black woman. If you think about that, ‘she’s too strong for the role’ is what they’re basically saying.”

With Selznick ultimately deciding to go with McDaniel, the actress suddenly had to face the difficult reality of navigating Hollywood’s motion picture industry. McDaniel, however, knew what to expect –– segregated dressing rooms, casual racism from the production team and cast and an overall rough time. 

Though the multiple Black performers in the movie knew they could not do much about this reality, they came together to protest the studio’s segregated bathrooms and successfully got them desegregated. 

McDaniel’s Oscar win was a momentous development in her personal life and the broader African American experience.

“It’s monumental because at the time, the Academy Awards had been going on for 11 years and no Black person had ever been nominated, yet alone won,” Reshonda Tate, writer, journalist and author of upcoming book “The Queen of Sugar Hill: A Novel of Hattie McDaniel,” told the AFRO. “Nor had any Black person been allowed in the ceremony.”

“She opened doors,” Tate continued. “Hattie McDaniel believed in fighting from the inside – she had a seat at the table. We’re used to those activists who are vocal, but she was a quiet activist who had a seat at the table and tried to make change that way while doing what she loved.”

Tate decided to write the novel after learning about McDaniel’s remarkable life –– however, as a child, even Tate experienced a distaste for the role of Mammy.

“My grandmother was a fan of ‘Gone With the Wind,’ and I remember the first time watching it, she loved it and I was mortified,” said Tate. “I was just disgusted with the character of Mammy. I didn’t like the way she overacted, I didn’t like the fact that she was a maid.”

“My grandmother asked why I was so disgusted, and I told her that,” she continued. “She said, ‘well, I’m a maid. Are you disgusted with me?’ And I said, ‘well, no.’ She went on to explain to me that Hattie McDaniel was playing the only role she was allowed. My grandmother said, ‘I get paid to be a maid, Hattie McDaniel gets paid to play a maid.’ It was then that I opened my eyes.”

Kevin John Goff, Hattie McDaniel’s great-grandnephew, spoke with the AFRO about the significance of McDaniel’s historic win and her life after the Oscar. 

“She had seen a lot of heartache, a lot of death, a lot of discrimination, so she wasn’t operating on a level playing field, but she was courageous and hardworking. Her parents were hardworking, so she got that from them,” said Goff. “When she won the Oscar, I’m sure a lot of people were shocked, Black, White or whatever. She looked at it as a prideful thing, as an accomplishment, something that had never been done at that point.”

“She was hoping it was going to open up doors for her in huge ways, and it did a little bit, but her career didn’t go upward,” he continued. “But she knew that it would probably help other Black performers down the road, and that was her biggest hope.”

While McDaniel secured a role for “In This Our Life” shortly after her Oscar win, she found herself once again cast as a maid.

“In some ways it’s a classical Hollywood story,” said Watts. “There’s the Oscar curse where after you win the Oscar, it’s really hard to regain that momentum and continue some kind of climb in your career. You can imagine she’s dealing with that reality on top of being a Black woman in Hollywood.”

With McDaniel being able to make money on “Gone With the Wind” and command more pay for her future roles, she purchased a house in an area of Los Angeles called the West Adams district. 

“She’s part of this movement of Black performers buying these really beautiful, old money mansions, and they’re integrating this neighborhood,” said Watts. “She does that and she faces pushback from the White residents who actually take her to court to try and push her out of her home because they want West Adams to remain White. She makes that fight against that residential segregation in Los Angeles.”

“In the end, the lawsuit that she fights is decided in her favor, and that sets a precedent for a Supreme Court decision later on to outlaw restricted covenants in residential segregation in the United States,” she continued. “Nobody gives her credit for that.”

As time carries McDaniel into the pages of history, Goff is working hard to ensure that people remember his distinguished great-grandaunt.

“My father, who Hattie used to babysit, this was originally his journey,” Goff told the AFRO. “When I got off the plane when I decided to move back to California, I believe I was around 23-years-old, the first thing my father said to me was, ‘do you want to have the responsibility of carrying on the family legacy one day?’ And I said absolutely. When he passed away in 2012, that’s when I knew I was going to honor that question that he asked me years before about taking on that responsibility.”

Goff is currently working on his book “Hattie McDaniel: A Reflective Life,” which will explore McDaniel’s personal experiences.

“Some people know some of the parts of her story and her life, but they don’t really know her as a woman, as a person,” said Goff. “The object of the book is to show more of the human side away from the screen, her thoughts, what she thought about life, what she thought about Hollywood. In some of her quotes you can see where her mind is.”

“Then I share some of my perspectives on her and the family – photos and different things of that nature,” he continued. “I share things that are still happening today and have been happening for the past few years because her talent was so huge, although she didn’t get to use it to its fullest. It’s an added layer to show, look, this was a real person, she had feelings, she had thoughts, she had her moral ground, she had compassion and those kinds of things. I want to paint a wider picture of her.”

With her upcoming novel, Tate also hopes to illuminate the commonly misunderstood parts of McDaniel’s life –– especially considering the attack on “Gone With the Wind” in 2020, when HBO Max temporarily removed the film from its streaming service after receiving complaints of its racial stereotypes.

“That was disheartening to me because her legacy was that she hoped to always be a credit to her race,” said Tate. “Part of what I’m doing with this book is I’m hoping to shed a new light on Hattie McDaniel to see that she was indeed a credit to our race. There are so many other areas that she made a difference in that people don’t even know about. I’m excited to bring those to the forefront as well.”

As of this year, only ten Black women have secured an Oscar, with nine of them triumphing in the best supporting actress category, and Halle Berry standing as the sole Black woman to have ever won the best actress accolade. 

“In light of the Oscar nominations that recently came out, I’m excited for Danielle Brooks and Da’Vine Joy, who happen to be nominated in the same category,” said Tate. “But at the same time, it is sad that here we are, ninety-plus years later after the first Academy Awards, and we’re only at nine Black women who have won Best Supporting Actress. That tells you that while we have made some progress, there is so much more progress that needs to be made.”

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By Ericka Alston Buck,
Special to the AFRO

Baltimore’s second Annual Charm City Live Music Honors unfolded on Feb. 3 at the Orion At Fillmore, transcending expectations and delivering a spectacular celebration of local talent that resonated far beyond city limits. Curated by the visionary Luz Arce, the event aimed not only to showcase the vibrant music scene of Baltimore but also to reshape the city’s narrative through the lens of its thriving live music community.

The Orion At Fillmore, with its state-of-the-art sound system and intimate ambiance, served as the perfect stage for the enchanting evening that awaited attendees – a mix of dedicated fans and curious newcomers eager to experience the promised soulful melodies and electrifying beats.

At the heart of the celebration were the 2024 honorees: Craig Alston, Cory Baker, Rodney Kelley II, Brian “Spyda” Wheatley of the Craig Alston Syndicate, and the soulful Karen Linette. 

These remarkable artists, deeply ingrained in Baltimore’s musical identity, took center stage as Luz Arce expressed her vision for the event: “With Charm City Live Music Honors, my goal is to inspire musicians to continue creating beautiful art and provide audiences with a magical night of music, fostering ongoing support for the talented individuals that keep the city’s live music scene alive and well.”

The Orion At Fillmore buzzed with anticipation as each honoree took their turn, delivering an eclectic mix of musical genres that showcased the diversity of Baltimore’s music scene. From jazz to R&B, the night unfolded like a musical tapestry, weaving together the rich cultural heritage of the city.

The Craig Alston Syndicate, a regional staple known for soulful and electrifying performances, took control of the room from their opening notes. Guiding the audience through a musical journey with their seasoned professionalism, the Syndicate played familiar songs, creating an atmosphere that resonated with both longtime fans and newcomers.

“What made the evening truly special was the collective synergy of The Craig Alston Syndicate, combined with the opportunity for each member to shine individually,” said Adam Davis, a Delaware resident who traveled specifically for the event. 

Solo interludes allowed Craig Alston, with his soulful saxophone melodies, to paint emotive musical landscapes. Cory Baker’s mastery of the guitar added layers of depth and complexity, captivating the audience with each strum. Rodney Kelley II’s rhythmic prowess on the keyboard provided the heartbeat of the night, while Spyda’s drumming ability anchored the entire ensemble, creating a sound that was both cohesive and exhilarating. Each member took center stage for their solo moments, offering a showcase of individual brilliance that reaffirmed these musicians as not only a force when united but also formidable talents in their own right.

Karen Linette, described as a “true musical force” by event curator Luz Arce, emerged as a standout among standouts. Her soulful sound and awe-inspiring multi-octave range left an unforgettable mark on the hearts of those in attendance. As she graced the stage, attendees weren’t just treated to a performance; they witnessed a transformative experience. Linette’s vocal acrobatics effortlessly traversed various octaves, leaving the entire crowd on their feet, caught in the magnetic pull of her soul-stirring performance.

Described as a superstar by those yelling at the stage in attendance, Linette’s contribution became the highlight of an already spectacular evening, solidifying her status as a musical luminary in Baltimore. The Orion At Fillmore, now transformed into a pulsating sea of energy, bore witness to a true musical celebration.

As the applause echoed through the venue, it was abundantly clear that Karen Linette had not just performed; she had “shut the house down” in the best possible way. Her stellar performance, coupled with the collective brilliance of The Craig Alston Syndicate, made the Second Annual Charm City Live Music Honors a resounding success.

But the night held even more enchantment, as Joi Carter took center stage as the headlining vocalist. A DMV native and star of the OWN network reality show “Love & Marriage DC,” Carter brought her top-tier performance to the Charm City Live Music Honors. Dancing, singing, and flawlessly rendering popular R&B hits, she added another layer of brilliance to an already extraordinary night.

Carter’s dynamic vocals and commanding stage presence set the stage ablaze, creating an infectious vibe that kept the audience moving, grooving, and singing along. Her collaboration with The Craig Alston Syndicate added richness to the performance, showcasing the symbiotic relationship between vocalist and band.

As the night drew to a close, the applause for Joi Carter, Karen Linette and The Craig Alston Syndicate echoed through the Orion At Fillmore. The Second Annual Charm City Live Music Honors had not just celebrated local talent; it had declared Baltimore’s musical prowess to the world, leaving a mark on the global stage. For those who missed the magic, the message was clear: plan ahead for 2025, as Charm City Live Music promises another year of enchanting performances, community building, and an unparalleled celebration of Baltimore’s musical tapestry. The Charm City Live Music Honors are not just an event; they are a declaration

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By Ariyana Griffin 
Special to the AFRO

Spike Lee’s special exhibit at the Brooklyn Museum recently closed after taking thousands on a journey through his collection of art, photos and memorabilia– all connected to his career, interests and life. 

Lee, born in Atlanta and raised in Brooklyn, is an Academy Award and prime time Emmy winner, screenwriter, actor, director and author. His museum exhibit, “Spike Lee: Creative Sources,” was a compilation of some of his most prized possessions, which helped fuel his world renowned projects.

Over 450 pieces of his personal collection, taken from his home and the Brooklyn-based 40 Acres and a Mule Filmworks studio, were included in the exhibit. Lee shared that it was just a small portion of pieces amassed over his lifetime. 

“It’s been difficult to dwindle down– even with this show. There is still a lot of stuff that can’t make it because there is only a limited amount of space,” he said in an interview with the Brooklyn Museum. “I’m still collecting, and I’m not stopping now,” he said. 

It is safe to say you did not have to be an art fanatic to find your place at the exhibit. There was something in his collection for everyone. The exhibit was an ode to music, Black history and culture, sports, Brooklyn and collectors. 

A proud graduate of Morehouse College class of 1979, Lee also paid homage to his alma mater and Spelman College, where his mother and grandmother graduated from. The exhibit also highlighted his father’s heavy music background and his brother’s love for photography. 

The rooms mimicked a movie set with wood outlines that contrasted with the vibrant colors on the walls. Visitors could view photographs and signed items from civil rights activists, such as Angela Davis and authors such as Alice Walker. Many of the items included in the installation were signed by some of the world’s most renowned figures. 

One-of-a-kind pieces, such as a guitar gifted by the late great Prince, Air Jordans worn during a winning game from Micheal Jordan and a magazine signed to Lee by Kobe Bryant were on display as well.

The die hard New York Knicks fan, Lee had a room dedicated to the team. He even collected the basketball net from their first world championship win in 1970, which he witnessed at age 13. Original ticket stubs, newspaper clippings and jerseys worn by those he calls heroes took over the space. 

Visitors were able to get a taste of Brooklyn’s culture by sitting and taking photos on a prop stoop. A message behind it read, “There’s something about Brooklyn. It’s the people, the diversity, the culture, the people who make up this great borough. I mean I grew up here and it’s developed the person who I am and who I’ve become, and so therefore that has been the subject of a lot of my films.”

A few hours were needed to fully take in the exhibit, as it was definitely not one to speed through. The peak into Spike Lee’s world closed on Feb. 11 at the Brooklyn Museum. 

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By Mark Kennedy 
AP Entertainment Writer

NEW YORK (AP) — Kool and the Gang, Mary J. Blige, Mariah Carey, Lenny Kravitz, Sade and hip-hop groups A Tribe Called Quest and Eric B. & Rakim are among the Black entertainers comprising the 2024 nominees for induction into the Rock & Roll Hall of Fame. Pop goddess Cher, the late Sinéad O’Connor and heavy metal’s so-called Prince of Darkness are also part of this year’s consort, a wide musical net that also includes Britpoppers Oasis.

Ozzy Osbourne, who led many parents in the 1980s to clutch their pearls with his devil imagery and sludgy music, gets the nod as a solo artist, having already gone into the hall with Black Sabbath. 

Nominations also were handed to soft rockers Foreigner, singer-guitarist Peter Frampton, alt-rockers Jane’s Addiction and Dave Matthews Band, and dance icons Kool & the Gang.

“Continuing in the true spirit of rock ‘n’ roll, these artists have created their own sounds that have impacted generations and influenced countless others that have followed in their footsteps,” said John Sykes, chairman of the Rock & Roll Hall of Fame Foundation in a statement.

Ten of the 15 nominees are on the ballot for the first time, including Carey, Cher, Foreigner, Frampton, Kool & the Gang, Kravitz, Oasis, O’Connor, Osbourne and Sade. Sade, whose 1980s soft rock hits include “Smooth Operator” and “The Sweetest Taboo,” is having a moment, having last year been inducted into the Songwriters Hall of Fame.

Carey, with 19 No. 1 hits on the Billboard Hot 100, Blige with eight multi-platinum albums and nine Grammy Awards, and Cher — the only artist to have a No. 1 song in each of the past six decades — would help boost the number of women in the hall.

Artists must have released their first commercial recording at least 25 years before they’re eligible for induction. The induction ceremony will take place in Cleveland this fall.

Nominees will be voted on by more than 1,000 artists, historians and music industry professionals. Fans can vote online or in person at the museum, with the top five artists picked by the public making up a “fans’ ballot” that will be tallied with the other professional ballots.

Last year, Missy Elliott, Willie Nelson, Sheryl Crow, Chaka Khan, “Soul Train” creator Don Cornelius, Kate Bush and the late George Michael were some of the artists who got into the hall.

___

Mark Kennedy is at http://twitter.com/KennedyTwits

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By Maria Sherman
AP Music Writer

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

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

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

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

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

HOW TO WATCH

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

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

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

THE NOMINEES

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

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

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

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

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

WHO WILL PERFORM?

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

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

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By Michael Kunzelman and Lindsay Whitehurst
The Associated Press

WASHINGTON (AP) — A prominent defense attorney whose star clients have included Snoop Dogg pleaded guilty Jan. 26 to leaking grand jury information to reporters about a political conspiracy case against a rapper from the Fugees.

David Kenner, a California-based attorney known for his representation of celebrities like Suge Knight and Tory Lanez, was sentenced to a year of unsupervised probation after pleading guilty to a misdemeanor contempt of court charge. He also agreed to pay a $5,000 fine.

Federal prosecutors say Kenner was representing Prakazrel “Pras” Michel, a founding member of the Fugees, when he gave grand jury information and photos to two reporters for Bloomberg News for “defense-oriented” stories that ran in March 2023, shortly before the start of the Washington, D.C. trial. Michel’s trial included testimony from such figures as actor Leonardo DiCaprio and former U.S. Attorney General Jeff Sessions.

As is typical in criminal cases, Kenner had gotten access to evidence in order to prepare Michel’s defense, but had been ordered by the court not to share the information, prosecutors said.

Kenner’s attorney said in court documents that the reporters originally agreed to sign a protective order, but later changed their minds. A Bloomberg News spokesperson declined to comment.

Kenner, 82, told the judge who sentenced him that he was reckless for not taking steps to terminate the reporters’ access to grand jury information. He described it as a “low point” in his 56-year legal career.

“Obviously, I made a terrible mistake,” Kenner said.

Michel was eventually convicted of all 10 counts, including conspiracy and acting as an unregistered agent of a foreign government. The Grammy-winning rapper faces up to 20 years in prison on the top counts.

Michel is now pushing for a new trial in the case. His new attorney, Peter Zeidenberg, says Kenner made a host of errors. That included bungling closing arguments by using an artificial intelligence program. 

Once touted as the first use of generative AI in a federal trial, the closing arguments included Kenner misattributing a famous lyric from a song by the rapper Diddy to the Fugees, according to court documents.

The charge to which Kenner pleaded guilty carries a maximum prison sentence of six months, but U.S. District Judge Amit Mehta said a term of imprisonment or home detention wasn’t warranted. His probation term will be unsupervised under the terms of a plea agreement he struck with prosecutors.

Mehta initially expressed surprise that prosecutors agreed to a sentence without a fine. Mehta said a $5,000 fine — the maximum amount allowed under the statute — may be a “small but symbolic” addition to the sentence.

L. Barrett Boss, one of the defense attorneys, said Kenner was planning to retire after Michel’s trial. But Boss said Kenner is “very strained financially” because he spent $1.4 million “out of pocket” on Michel’s defense.

A spokeswoman for Michel said the conviction reflects a breach of client trust. “While Mr. Kenner argues that he was merely trying to mount the best possible defense for Pras Michel, his client, Mr. Kenner’s reckless actions crossed critical ethical lines, failed his duties as counsel, and ultimately have cost him dearly,” Erica Dumas said.

Michel was charged with funneling money from a Malaysian financier to Barack Obama’s 2012 reelection campaign through straw donors, then trying to squelch a Justice Department investigation and influence an extradition case on behalf of China under the Trump administration.

The financer, Low Taek Jho, also helped finance Hollywood films, including “The Wolf of Wall Street,” which starred DiCaprio. Jho has since been accused of masterminding a money laundering and bribery scheme that pilfered billions from the Malaysian state investment fund known as 1MDB. He is now an international fugitive and has maintained his innocence.

Kenner had argued during the trial that Michel simply wanted to make money and got bad legal advice as he reinvented himself in the world of politics.

_____

Whitehurst reported from Philadelphia.

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By Ericka Alston Buck 
Special to the AFRO 

The Billie Holiday Center for Liberation Arts (BHCLA) at Johns Hopkins University set the stage for an extraordinary year of programming with a vibrant celebration of Black culture at the Eubie Blake National Jazz Institute and Cultural Center on Jan. 12. 

The event, hosted at the heart of Baltimore’s cultural scene, brought together artists and audiences from diverse backgrounds to champion cultural and educational programming in the visual and performing arts.

BHCLA, an initiative dedicated to building bridges between Johns Hopkins University and Baltimore’s historic African American communities, kicked off its year with an evening that celebrated the strengths and potential of both entities. The Eubie Blake National Jazz Center served as the perfect backdrop for an event that aimed to foster organic links and create a space for cultural enrichment.

The evening’s main attractions were BHCLA Artist-in-Residence Jamal Moore and former WEAA radio host/deejay, “Doc” Manning. 

Moore, a native of Baltimore, is a multi-talented artist with a rich background in music and education. His performance and participation in the roundtable discussion added a layer of depth to the evening. Manning, an iconic figure in Baltimore’s music scene, brought his 30 years of experience as a radio host to the table, creating a dynamic duo that resonated with the diverse audience.

Panel discussion: Exploring Jazz appreciation

The festivities commenced with a panel discussion moderated by Dr. Lawrence Jackson, the director of Johns Hopkins University’s Billie Holiday Center for Liberation Arts. The panelists, Moore and “Doc” Manning, shared personal stories and insights into their appreciation of jazz as young individuals. Moore highlighted the influence of his parents and the rich cultural and spiritual environment he grew up in, providing a glimpse at the roots of his musical journey.

As Moore shared stories of growing up in a pan-African politically conscious household, the audience gained a deeper understanding of his journey. From being told in grade school that his hands were too small to play the saxophone to wowing the crowd with his musical prowess during the performance that followed the roundtable, Moore’s story embodied resilience and determination.

When asked what he wanted attendees to walk away with from having attended the event Moore said “I would love for everyone to walk away with an enlightened mind and to be musically and spiritually, healed.” 

Attendees were encouraged to stay engaged with BHCLA, with upcoming events scheduled for April 18th at the Baltimore Museum of Art and Sept. 7th, featuring the return of the Lafayette Square Jazz Concert. These events promise to continue the celebration of cultural diversity, artistic expression and community engagement.

The evening began with a catered reception and the chance for attendees to explore the “Birth of Baltimore Jazz” archival exhibit. By the end of the night, audience members were basking in the sounds delivered by Moore. 

As BHCLA embarks on a new year of programming, this kickoff event set the tone for an enriching journey that celebrates the vibrancy of Black culture, fosters organic connections, and highlights the amazing potential within Johns Hopkins University and Baltimore’s historic African-American communities. The BHCLA invites everyone to join them in the upcoming events, ensuring a year filled with cultural exploration and artistic expression.

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By Ericka Alston Buck
Special to the AFRO

The Reginald F. Lewis Museum was set ablaze with anticipation on the evening of Jan. 11, 2024, as the crème de la crème of Baltimore gathered for the exclusive 2024 Baltimore Met Gala theme reveal. 

Created by the dynamic duo LaRian Finney and Derrick Chase, the event promised to not only announce the highly anticipated theme for 2024 but also be a reminder of their mesmerizing fusion of fashion, art and culinary delights while recognizing impact leaders in business, entertainment, and the community, that the Baltimore Met Gala has solidified with year three.

The doors of the iconic Reginald F. Lewis Museum opened at 6 p.m., welcoming a line of select stakeholders, designers, artists, models, restaurant owners and community leaders. The event, meticulously crafted for an exclusive invite-only audience, set the stage for an evening of opulence and cultural celebration.

As guests parked along the street or at the Pratt Street Garage, the buzz of excitement filled the air. The chosen venue for this year’s gala remained a well-guarded secret, adding an extra layer of intrigue to an already captivating event. Attendees eagerly await the big reveal on Feb. 15, 2024, while knowing that wherever it may be, the chosen location will serve as the canvas for an unforgettable night just as the inaugural Baltimore Museum of Art and last year’s M&T Exchange at The Hippodrome has in years past. 

“Adam & Eve, Enter the Garden”: A theme of cultural significance

The room pulsed with excitement as executive producer LaRian Finney unveiled the theme for 2024, “Adam & Eve, Enter the Garden.”  Finney expressed the Gala’s mission: “We continue our mission of culturally relevant and culturally sensitive events with community impact. We want to lift Baltimore designers, artists, and chefs and create an ecosystem for success.”

This theme promises a journey into a mythical garden, a celebration of creativity, and an ode to cultural relevance. Attendees can expect a night that transcends the ordinary, with fashion, art and culinary experiences intertwined to create an immersive and unforgettable atmosphere.

The return of last year’s winning team

Adding to the excitement, the winning team from the previous year made a triumphant return. Lana Rae, fashion producer; Shajuan Finney, event decor; Earle Bannister and Jody Davis as fashion designers; Ernest Shaw, art curator; A. Deveaux, culinary curator; and Jeff Butler, photography curator, ensured that this year’s gala would be nothing short of spectacular.

Before the grand reveal, executive producer Derrick Chase took the stage, weaving an inspirational narrative focused on faith and the power of belief. In a compelling story, Chase spoke about overcoming the seeds of doubt planted in each of us, forgiving those who planted them, and focusing on cultivating fertile ground.

Chase emphasized the journey to the Baltimore Met Gala 2024 as a testament to belief, confidence and resilience. His words resonated through the room, setting the tone for a night that went beyond glamor and extravagance.

As the night unfolded, Finney and Chase revealed their ambitious plans for the 2024 Baltimore Met Gala, projecting an attendance of 2,000 individuals. The promise of a grander, more expansive celebration echoed through the venue, leaving attendees eagerly anticipating what the night would hold.

In the heart of Baltimore, where culture, creativity and community converge, the Met Gala 2024 has set the stage for a year of excitement, inspiration and unforgettable moments. The theme is unveiled, the team is ready, and the city is poised for an extravaganza like never before. The countdown to the grand event on Sept. 14 has begun, and Baltimore is buzzing with anticipation for what promises to be a truly spectacular evening, the third annual Baltimore Met Gala.

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By Megan Sayles
AFRO Business Writer
msayles@afro.com 

The New York Times just dubbed Baltimore one of the top places to visit this year as part of its “52 Places to Go” in 2024 list. 

It joined destinations like Paris, France; Maui, Hawaii; Hurghada, Egypt; and Vienna, Austria. Freelance travel writer Daniel Scheffler penned the excerpt on Baltimore, highlighting the up-and-coming Baltimore Peninsula neighborhood and the ongoing transformation of the historic Henry Highland Garnet School into the Justice Thurgood Marshall Amenity Center. 

“After all the years of work the city has done with so many cheerleaders, from John Waters, to the mayor and the governor, to people like the Empanada Lady, the team from Pendry Hotel and poet Unique Mical, it’s in good hands to get all the international and national attention it deserves,” Scheffler told the AFRO. 

Scheffler was born in Africa but grew up all over Europe. He first visited Charm City a couple years ago for an interview with Baltimore native and American filmmaker John Waters. While walking the streets of the city, he fell in love with its uniqueness. 

Even having traveled to 130 countries and thousands of cities, Scheffler said Baltimore has a special ingredient that can’t be found anywhere else. 

“To me Baltimore is one of the most interesting and wonderful places I have been on the planet, and, thus, I return as often as possible,” said Scheffler. “Some may say this isn’t my story to tell, but I am grateful to have a platform to share Baltimore and my own love for it. The city’s done the work, I am merely telling people about it.” 

Al Hutchinson, president and CEO of Visit Baltimore, said he and his team were thrilled about Baltimore being tapped for the list. 

“It’s no secret that Baltimore is having a major moment— our arts, culture, medical and tech industries are huge assets in our city’s appeal as a cultural destination. Visitors repeatedly comment on our ease of access, walkability, beautiful waterfront, diversity in people, arts and culture and our amazing up and coming dining scene,” said Al Hutchinson, president and CEO for Visit Baltimore. “As Governor Moore so often says, it’s Maryland’s decade, but it’s Baltimore’s time.” 

He expressed that Baltimore’s critics have unduly steered the city’s narrative without having a grasp of its merits. He thinks everyone should be proud of Baltimore for what he considered a momentous accomplishment. 

“For far too long, we have let naysayers and people who do not understand Baltimore drive our narrative as to what makes a city a great place to live, work and visit,” said Hutchinson. “The Baltimore we know and love is a palace where innovative ideas and ambition are the currency that matters most, where art is seen as a catalyst for conversation, food as a means of connection and history as an opportunity for education.” 

Megan Sayles is a Report For America corps member. 

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By Ashleigh Fields
AFRO Assistant Editor
afields@afro.com

The Smithsonian National Museum of African American History and Culture (NMAAHC) will display its first official Kwanzaa exhibit until Jan. 1, 2024. A kinara, mkeka mat and a playlist debuted at the museum on Dec. 26.

The week-long Pan-African holiday was originally founded in 1966 by Maulana Ron Karenga to honor seven principles of African history and heritage. 

“Kwanzaa is a Black nationalist tradition. It’s a holiday created for Black people by Black people,” said Baba Kelechi Egwim, a member of the D.C. Kwanzaa Planning Committee. 

Egwim said the holiday is significant because it is based on customs of Black people and serves as a time to “recognize our greatness.”

In addition to the exhibit featured in Heritage Hall, the museum will host a screening of “Kwanzaa and Watch Night: Visions of Freedom” on Dec. 30 for guests in person. The movie will showcase both Kwanzaa and Watch Night, a practice that started on Dec. 31, 1862, when African Americans gathered, many in secret, to ring in the new year and await news that the Emancipation Proclamation would take effect on Jan. 1, 1863.

“The African American Museum is such an important part of our city and our country and I think the ability for us to learn of other customs is an important attribute for our community,” said Michael Shankle, local representative for Advisory Neighborhood Commission 2C where the museum resides. “I think Kwanzaa has been underrecognized by other communities in the past and I’m glad the museum is making efforts to help residents learn about the celebration.”

Despite the NMAAHC’s historical effort to highlight the holiday, many local residents still feel it’s not being appropriately recognized. The “Kwanzaa Now Campaign” has been advocating for a more in depth and educational approach.

“We searched for Kwanzaa in the museum in Oct. 2018 and discovered the word ‘Kwanzaa’ was mentioned only once in the museum history collection; the reference was not about the holiday practice, but about its founder,” read a statement on their website. “We later discovered no Kwanzaa events of any kind had been held by the museum…we found one children’s Kwanzaa book in the gift shop, a Kwanzaa pin in their digital database and a small pre-Kwanzaa children program was held Dec. 7, 2019.”

Multiple members of the D.C. Kwanzaa Planning Committee joined the campaign to help advocate for more awareness about the holiday.

Egwim, who is also a member of the Kwanzaa Now Campaign, said he believes the Smithsonian could have done more outreach and consultation to ensure the museum featured a Kwanzaa exhibit in line with community requests.

“We weren’t able to get them to agree to us playing more of a hands-on role,” said Egwim, who believes the inclusion of organizations that annually celebrate Kwanzaa could ensure a Smithsonian exhibit aligned with “the community of folks who created Kwanzaa– as opposed to the universalized version of Kwanzaa.” 

“Kwanzaa is not a time to compromise ourselves, it’s a time to empower ourselves, a time to reflect and time to embrace the spirit of Pan-Africanism,” said Egwim. “A celebration among the whole Black population is bigger than anything a corporation or the Smithsonian may have a concept of. Since its creation, it has returned to its origin and become full circle.”

The AFRO reached out to the National Museum of African American History and Culture for a comment but did not receive an immediate response ahead of the time of print.

“People from all around the world come and visit the museum and they should see all aspects of our culture,” said D.C. Kwanzaa Planning Committee founding member Baba Imamu Kuumba-baucum.

Alternatively, the D.C. Kwanzaa Planning Committee organized in 1977, hosts community events yearly surrounding the holiday and has for the past four decades virtually and in-person. Each night, the committee will present free events that focus on the seven principles of Kwanzaa: Umoja (Unity), Kujichagulia (Self-Determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity) and Imani (Faith). The group says that these tenets should not just be practiced for the week but 365 days of the year.

“The essence of Kwanzaa is  the true appreciation of ourselves as Black people, collectively coming together to reflect on and enjoy the infinite beauty of being in the same family, organization and community,” said Baba Rasafik Weusi. “We share the same values, interests, aspirations and engage in committing to the same struggle.”

Every year, the D.C. Kwanzaa Planning Committee joins forces to create an overarching theme for the week. 

“This year’s theme is “Stronger Together” and at our Dec. 26 celebration will be discussing the importance of that concept of being stronger in unity and uniformity,” said Kuumba-baucum. “The principle of the day is unity and the family community and the nation and the race and we will be discussing ways and means of how we can maintain family and community in these dire times that we are living in.”

He believes that Kwanzaa deserves to be recognized on a global scale. A detailed list of  their events can be found at KwanzaaDC.org.

The D.C. Kwanzaa Planning Committee is committed to promoting the holiday for years to come with hopes of a future partnership with the National Museum of African American History and Culture.

Egwim said the goal of his organization is to help people “get it right” when it comes to Kwanzaa. While he said he is “always willing to be a part of that process,” his coalition can only do so much if their ideas and help are not accepted when offered.

“It’s the only holiday that I’m aware of that exists for Black by Black people to celebrate Blackness,” said Egwim. “This is us celebrating us for seven days, more specifically us celebrating the best of us– not us celebrating individuals– but principles that represent the best of our people.”

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By Ericka Alston Buck
Special to the AFRO

The enchanting evening of Dec. 23, saw The Senator Theatre in Baltimore come alive with vibrant hues of purple, marking an exclusive private screening of “The Color Purple.” The event doubled as a celebration for Baltimore native and assistant costume designer Rashad Corey, who returned to his hometown to host the program, creating a night of glam, inspiration and cinematic brilliance.

Corey’s roots in Baltimore and his wealth of experience in fashion and costume design made the Senator Theatre the perfect venue for this momentous occasion. A graduate of Parkville High School, Corey’s love for his hometown was palpable as he curated an evening that merged the charm of Baltimore with the allure of Hollywood.

The assistant costume designer for the world premiere of “The Color Purple” had a profound goal for hosting the pre-screening. Corey aimed to provide family, friends and colleagues a sneak peek of the movie before its nationwide release on Christmas Day 2023. Moreover, he aspired to empower and inspire individuals, encouraging them to uncover the dormant dreams and visions within themselves, akin to the characters of Miss Celie or Sophia.

“I decided not long ago that I was going to literally manifest everything that God had for me. I wasn’t just gonna wait for it to manifest. I said ‘manifest’! I activated the manifestation and began to experience an overwhelming abundance of opportunities and open doors,” said Corey. “What are you thinking that you haven’t manifested? Manifest!”

The event drew a remarkable turnout, with nearly 200 guests in attendance, including family, friends, colleagues and social media fans. The purple theme resonated throughout the evening, with guests adorned in an array of purple and lilac, creating a spectacle of color that accentuated the festive atmosphere.

The Purple Carpet and Cocktails experience was a highlight of the evening, offering attendees an hour to mingle, capture memories on the purple carpet against a movie-themed backdrop. Those present could also enjoy an assortment of libations before settling into the theater.

“The Color Purple” lived up to its legendary reputation, blending the nostalgia of the 1985 version with a modern and refreshing 2023 adaptation. Families across the country spent their Christmas in theaters, contributing to the film’s immense box office success. With $18.15 million in box office receipts, it boasted the highest Christmas Day opening since 2009, securing its place as the second-largest Christmas Day opening of all time.

Corey’s contribution to the costume design, working alongside lead costume designer Francine Jamison-Tanchuck, was nothing short of remarkable. He played a pivotal role in outfitting the entire group of dancers in the iconic Miss Celie’s pants scene and contributed to the wardrobe of esteemed actors such as Louis Gossett Jr., Whoopi Goldberg and Jon Batiste.

The design team’s meticulous approach brought the film’s time period to life with vivid colors of red and purple, complemented by subdued matte hues of brown, gray and black. The result was a visually stunning tapestry that perfectly captured the essence of the characters and the narrative.

As the credits rolled and the applause echoed through the Senator Theatre, Rashad’s homecoming became not just a celebration of a movie, but a testament to the power of determination, inspiration and the magic of returning to one’s roots. The exclusive premiere was not just a cinematic experience; it was a journey of empowerment, creativity and a shared love for the arts.

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By AFRO Staff

Hollywood is ready to party as the Golden Globes return for its annual boozy celebration of film and television’s biggest names.

The 81st annual GLobes begins at 8 p.m. Eastern on Jan. 7 and will air live on both coasts on CBS, which is available with an antenna or through cable and satellite providers. It’s the first time the network is airing the show since the early 1980s.

Several Black entertainers are among those who earned nods for their work in film and television and are up for awards at the show. 

“American Idol” winner Fantasia Barrino was nominated for Best Performance by a Female Actor in a Musical or Comedy for her turn as Celie in “The Color Purple,” a role she also played in the Broadway show’s original  production. Meanwhile, co-star Danielle Brooks, who reprises the role of Sofia for which she earned a Tony nomination in 2016, is up for Best Performance by a Female Actor in a Supporting Role.

On the male side, veteran actor Jeffrey Wright was nominated for  Best Performance by a Male Actor in a Musical or Comedy for his leading role in the satiric “American Fiction.”

Colman Domingo, who also starred in “The Color Purple,” was recognized for his embodiment of civil rights icon Bayard Rustin in the eponymous “Rustin,” earning a nomination for Best Performance by an Actor in a Motion Picture – Drama. The civil rights drama, which showed the work and controversy behind the organization of the 1965 March on Washington, also garnered a nomination for Best Original Song for rocker Lenny Kravitz for his “Road to Freedom.”

In the world of television, Quinta Brunson and Ayo Edebiri earned nods for their work in “Abbott Elementary” and “The Bear,” respectively; and David Oyelowo received a nomination for Best Performance by an Actor in a Limited Series, Anthology Series, or a Motion Picture made for Television for his role in “Lawmen: Bass Reeves.”

Black stand-up comedians also joined the list of nominees for their television specials: Trevor Noah, “Where Was I”; Chris Rock, “Selective Outrage” and Wanda Sykes, “I’m an Entertainer.”

In addition to the live show airing on CBS,  viewers can stream the Globes, though watching it live requires a specific subscription. Paramount+ users with the Showtime add-on can stream the Globes live. Without that, Paramount+ will offer the show to subscribers the next day. They can also be watched through live TV streaming services that include CBS in their lineup, like Hulu + Live TV, YouTube TV and FuboTV.

Among films, “Barbie” is the top nominee this year, followed closely by “Oppenheimer,” reflecting the way the Globes split top film winners into two groups.

Films nominated for best motion picture drama include “Oppenheimer,” Martin Scorsese’s “Killers of the Flower Moon,” Bradley Cooper’s “Maestro,” Celine Song’s “Past Lives,” Justine Triet’s “Anatomy of a Fall” and Jonathan Glazer’s “The Zone of Interest.”

In the best motion picture musical or comedy category, “Barbie” was joined by Ben Affleck’s “Air,” Cord Jefferson’s “American Fiction,” Alexander Payne’s “The Holdovers,” Todd Haynes’ “May December” and Yorgos Lanthimos’ “Poor Things.”

“Succession” was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s “The Bear.”

The Associated Press contributed to this report.

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By Megan Sayles 
AFRO Business Writer
msayles@afro.com

In 2017, a Nielsen report confirmed that hip-hop had become the most popular genre of music in the U.S., unseating rock for the first time. Today, it’s still reigning supreme across the world, with Spotify announcing that, globally, a quarter of all streams in 2023 were hip-hop music. The genre garnered more than 400 million listeners this year. 

Its abundance of admirers has translated into an $8 billion-business as estimated by Forbes.  Many believe hip-hop’s success has been due to the fact that it’s not just a genre but a culture that’s pervaded all aspects of society. 

“It’s outflanked rock and roll and all the other musical genres for the last six or seven years. Within that, hip-hop extends to everything,” said C. Keith Harrison, founding director of University of Central Florida’s Business of Hip-Hop Innovation and Creative Industries Certificate. “It’s become the cultural air we breathe from fashion, to sports, to higher education curriculum.”

Hip-hop was born in the South Bronx in New York City during the 1970s. It wasn’t just rap, it included deejaying, b-boying and graffiti painting. Jamaican-American Clive Campbell, better known as DJ Kool Herc became hip-hop’s founding father when he introduced the breakbeat dj technique at a house party in 1973. 

However, it was not always celebrated as it is today. In its early years, mainstream (i.e., White) society denounced the genre, criticizing it for themes they viewed as violent, inappropriate and offensive. 

“I remember a time in hip-hop where it was just taboo. Hip-hop artists were fighting to get into doors, and they were only allowed in certain venues,” said Jasmine Young, director for the Howard University School of Business Warner Music/Blavatnik Center for Music and Entertainment Business. “Watching the journey of hip-hop into the mainstream has been tremendous to be a part of, but it’s bittersweet. As it gets into the mainstream even more, we have to protect the culture.” 

While there are various answers to who brought hip-hop into the mainstream, Young thinks it was Run DMC, as she, like the prolific hip-hop group, grew up in Queens, New York. Others may attribute the achievement to the Sugarhill Gang, L.L. Cool J or Public Enemy. 

Before coming to teach at Howard University, Young spent much of her career in hip-hop marketing. She started her journey at Def Jam Records, founded by music moguls Russell Simmons and Rick Rubin, and worked alongside artists, like Jay-Z, Slick Rick and Foxy Brown. 

“America right now is a prime time for hip-hop artists,” said Young. “Hip-hop is finally getting its just due, and hip-hop artists are able to sell anything globally and worldwide.” 

Hip-hop’s selling superpower is not just reserved for new hits. More and more companies are harnessing its global reach to promote their products. 

It started with the drop of Run DMC’s “My Adidas” in 1986, which promoted the brand’s Superstar sneakers. Now hip-hop’s influence is seen from high fashion, with Dior and Travis Scott, to fast-food menus, with Saweetie and McDonald’s.  

Harrison said you can’t watch 10 commercials consecutively without seeing a brand leverage hip-hop to market itself. 

“There’s no major corporation, outside of a few exceptions, that doesn’t utilize hip-hop language, hip-hop images or hip-hop artists in its marketing,” said Harrison. “You really do not have a cutting-edge marketing plan if hip-hop is not being acknowledged in some aspect. People utilize hip-hoppers as influencers.” 

Hip-hop has also been recognized for its intersection with innovation and entrepreneurship. Early on, many of the genre’s artists, like the late Nipsey Hussle, sold mixtapes and CDs out of the trunk of their cars. 

Today’s hip-hop businesses come in the form of Drake’s OVO fashion brand, Jay-Z’s entertainment company, Roc Nation, and Snoop Dogg’s venture fund, Casa Verde Capital. 

“Hip-hop artists are in Silicon Valley, the food and beverage space and clothing, they’re leveraging their for whatever they want,” said Harrison. “‘Can’t stop, won’t stop’ has been the mantra of our era with hip-hop.”

Megan Sayles is a Report For America Corps Member. 

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By Aria Brent 
AFRO Staff Writer 
abrent@afro.com 

Many legendary members of the Black community were called home over the past 12 months of 2023. Although the year is nearly over, we continue to honor and remember those who paved the way for those to come in the future. From legendary athletes to iconic musicians, their legacies will continue to shape the culture for years to come. Here’s a list of some notable Black figures that passed away in 2023. 

1. David “Trugoy the Dove” Jolicoeur

David “Trugoy the Dove” Jolicoeur was a member of rap group De La Soul. Rising to stardom in the late 80’s, the trio was known for their funk and soul inspired sound along with their conscious lyricism. Later in life the rapper would deal with congestive heart failure and had to wear a LifeVest defibrillator machine in order to fight the symptoms of his illness. On Feb.12 he passed away for unknown reasons at the age of 54.

2.  Harry Belafonte 

Known for his work as an actor, singer and activist, Harry Belafonte is a legend in more ways than one. He is credited with popularizing Calypso music amongst international audiences in the 1950’s and 1960’s. The three time Grammy award winner was famous for his hits like “Day-O (The Banana Boat Song)” and “Jump in the Line (Shake, Senora).” A close confidant to Dr. Martin Luther King Jr. during the Civil Rights Movement, throughout his life he continued to critique and speak out against policies that he viewed as unjust. Belafonte won many awards and honors throughout his life including an Emmy, a Tony, an Oscar, several Grammys, a Kennedy Center Honor and a National Medal of Arts. He was also inducted into the Rock and Roll Hall of Fame in 2022. The legend passed away from congestive heart failure at the age of 96 on April 25. 

3. Larry “Gator” Rivers 

Larry “Gator” Rivers played as a dribbler for the Harlem Globetrotters and then served as a coach for the team from 1973 to 1986. Prior to his professional career, Rivers became a small college all-American at Moberly Junior College and then went on to play as a guard at Missouri Western State University, then known as Missouri Western State College. In March of 1973, Rivers impressed the Harlem Globetrotters during a tryout in Topeka, Kan. Rivers later returned to his college town of St.Joseph, Mo., and in 1990 he founded Gatorball Academy, where he taught basketball skills and rules to children between the ages of nine and 14. Rivers went on to join the world of politics where he served as Commissioner of Chatham County District 2. The basketball star passed away from cancer on April 29 at the age of 73.

4. William “Bill” Perkins 

William “Bill” Perkins was an American politician who served the state of New York in a series of positions throughout the years. Before officially joining the world of politics he was one of the first civic leaders to question the evidence that was being used against the Central Park Five in 1989. He first started off serving as the deputy majority leader on the New York City Council from 1998 to 2005. Perkins then went on to serve in the New York Senate from 2007 to 2017 where he represented the 30th district of New York. Following his time as a Senator he then returned to the New York City Council where he served from 2017 to 2021. Perkins passed away on May 16, at the age of 74. His cause of death wasn’t disclosed but he previously dealt with colon cancer and had developed dementia prior to passing away. 

5. James “Jim” Brown 

James “Jim” Brown was an American football player and activist. Brown played for the Cleveland Browns from 1957 to 1965. He is considered one of the greatest football players of all time and was invited to play in the Pro Bowl every year he played in the NFL. He was recognized as the AP Most Valuable Player three times and won an NFL championship with the Browns in 1964. Brown was one of the few athletes to speak out against racism in the 1950s as the civil rights movement was growing. He was one of the most popular Black athletes to participate in civil rights activism, and he called on other Black athletes to engage in similar initiatives off the field. In 1966, he founded the Negro Industrial Economic Union, which later became the Black Economic Union (BEU) to help promote economic opportunities for minority owned businesses. On May 18, he died at the age of 87 from natural causes. 

6.  William “Bill” James Edwards Lee III

William “Bill” James Edwards Lee III was a jazz bassist and composer, in addition to being the father of American film director and producer Spike Lee. Throughout his career he worked with artists such as Duke Ellington, Billie Holiday and Harry Belafonte. He scored many songs and soundtracks for several of Spike Lee’s joints including “She Gotta Have It,” “Mo’ Better Blues,” “School Daze” and “Do the Right Thing.” Bill Lee died on May 24, at his home in Fort Greene, Brooklyn, N.Y. at the age of 94. 

7. Tina Turner 

Known as the “Queen of Rock N’ Roll,” Tina Turner was a powerhouse of a singer and songwriter. The musical icon passed away on May 24 after facing a series of illnesses throughout her life, including kidney failure, intestinal cancer and a stroke. She passed away at the age of 83 in Küsnacht, Zürich, Switzerland.

8. Sheila Oliver 

Sheila Oliver was an American politician and the first Black woman to be elected to a statewide office position in New Jersey. She served as second lieutenant governor and she was the first Black woman to ever do so in her state. Oliver previously worked in education serving on the East Orange School District board of education where she ultimately became president of the district. She represented the 34th legislative district in the New Jersey General Assembly from 2004 to 2018. She then went on to serve as speaker of the body from 2010 to 2014. A woman of many first, she was also the first Black woman to serve as speaker of the New Jersey General Assembly. The trailblazing politician passed away on Aug.1 at the age of 71.

9.  William “DJ Casper” 

William “DJ Casper” Perry Jr. was a Chicago based DJ best known for his hit-song the “Cha-Cha Slide.” The world famous line dance was originally released in 1998 as a workout song for his nephew, who worked as a personal trainer. In January of 2016, Perry was diagnosed with kidney cancer and neuroendocrine cancer. He started chemotherapy the same month. In 2019 he announced that he had beat his cancers, however they were his cause of death earlier this year. Perry passed away on Aug.7 at the age of 58.

10. Ron Cephas Jones 

Ron Cephas Jones was an American actor best known for his role as William Hill in NBC’s drama “This is Us.” In addition to this he had several roles in other television series such as Netflix’s “The Get Down” and “Luke Cage.” Jones had a multitude of awards including a Screen Actor’s Guild Award, and two PrimeTime Emmys. He passed away at the age of 66 from a “long-standing pulmonary issue” on Aug.19.

11. Rudolph Isley 

Rudolph Isley was a member of the legendary soul group, The Isley Brothers. He and his three brothers Ronald, Vernon and Kelly initially founded the group in 1954. Over the years, the band underwent a series of changes, but always found their way back to the music. Isley recorded multiple projects with the band including the projects “Smooth Sailin’” and “Spend the Night,” before he left both the group and the music industry as an entirety in 1989. Following his departure from music, he pursued his lifelong dream of becoming a minister. On Oct.11 he passed away from a heart attack at the age of 84.

12. Richard Roundtree 

Richard Roundtree was an actor most known for his portrayal of the character John Shaft in a series of blaxploitation films titled “Shaft.” In addition to starring in that role, he had success on television, most notably for his role in “Roots.” Following his success as an screen actor in the 70’s, he later performed in several stage plays throughout the 90’s and continued to work as an actor throughout his life. In 1993, Roundtree was diagnosed with breast cancer and underwent a double mastectomy and chemotherapy. On Oct.24 he died of pancreatic cancer at the age of 81.

13. Andre Braugher 

Andre Braugher was an award winning actor best known for his roles as Detective Frank Pembleton in the NBC police drama series Homicide: Life on the Street and as Captain Raymond Holt in the Fox/NBC police comedy series Brooklyn Nine-Nine. Braugher started off his acting career in the 80’s by working in theater, he then transitioned to television and film during the late 80’s and early 90’s. In 1991 he married his wife Ami Brabson and together they had three sons: Michael, John Wesley and Isaiah. On Dec.11, Barugher died of lung cancer after having been diagnosed with it only a few months before his death. He was 61 years old. 

The post A time to honor: A look at the notable Black athletes, entertainers and leaders who died in 2023 appeared first on AFRO American Newspapers.

By Ama Brown 
AFRO Editorial Assistant 

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

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

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

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

By Helen Bezuneh
Special to the AFRO
hbezuneh@afro.com

GoGo Symphony, a musical group that celebrates go-go music in the genre’s birthplace of D.C., is hosting “T’was the Night,” a classical jazz holiday show at 8:00 p.m. on Dec. 22. The Union Stage performance will combine the sounds of classical symphony music and Go-go music, but this time with a holiday twist.

“We’re going to  have some Christmas songs, a lot of fun and partying,” said Liza Figueroa Kravinsky, founder and composer of GoGo Symphony from Arlington, Va. “It’s a kid-friendly event. Just expect a lot of go-go beats and a lot of strings and flutes and horns on top of that. We have Dee Dee as the MC and there’s going to be a lot of call and response with the crowd.”

“I composed most of the original music and arranged one of the Christmas songs,” she added. “I’ll be playing the violin and maybe shaking some jingle bells here and there, dancing around the stage.”

In the words of the group’s website, GoGo Symphony has been performing “symphonies you can dance to” since 2012, when Kravinsky founded the group. 

“I was raised on classical music,” Kravinsky told the AFRO. “But then I started playing in go-go bands, and you know how go-go puts anything over the go-go beat and makes it go-go. That’s what I did with classical music.”

The GoGo Symphony has been working hard in preparation for the holiday show, ensuring attendees will enjoy the lively performances.

“We’ve been rehearsing since September,” said Kravinsky. “We had to write some special arrangements of Christmas music in the GoGo Symphony format. We have new costumes, we have some decorations, we’re just trying to make it as festive as possible.”

William “Juju” House, principal drummer of GoGo Symphony from D.C., will perform a couple of songs with the symphony at the concert. The show will also feature a spotlight on House, who has toured with numerous renowned musicians such as Roberta Flack, Chaka Khan, Salt n’ Pepa and Luther Vandross.

“It’s going to be a really, really great show,” House told the AFRO. “I’m coming in doing a couple of Christmas songs performed by Chuck Brown.”

“The first part of the show that I’m going to be doing with Dee Dee, it’s going to be a Christmas jazz set, like the Erykah Badu type,” he added. “It’s truly going to be really nice, it’s going to be different, totally different than what you normally see from a symphony.”

Eucrita D. Willis, who goes by Ms. Cxree or Dee Dee, is the creative artistic director and manager of GoGo Symphony. Willis, a performing arts teacher from Newport News, Va., sings and dances with the symphony. She has toured with major artists, some of which include Shirley Murdock, Nephew Tommy, Damion Hall and David Peaston.

“We always like to have fun at GoGo Symphony shows. It’s an educational platform for youth, for families, from young to old, where they can actually hear some classical music that is intertwined with the D.C. sound of go-go and experience a whole collaboration of different genres.” Willis told the AFRO. “We’re doing some of our throwback music that we’ve had for some time with a little mixture of our new Christmas songs that were written and produced by our conductor.”

“We’ve done shows around the holidays for other venues and other people, but this is our first official holiday show,” she added. “Come prepared to have a good time and listen to some of the traditional, classical that we, even myself, grew up on as kids.”

The holiday show will also feature a raffle prize. Tickets for the show can be found on unionstage.com, the link for which is on gogosymphony.com.

The post GoGo Symphony to host holiday show “T’was the Night” appeared first on AFRO American Newspapers.