Celebrating the evolution of Black Music Month
By Maria Sherman
Every June since the 1970s, across the United States, musicians, fans and industry professionals celebrate Black Music Month. It’s an opportunity to highlight the contributions of Black artists and position Black art at the center of American culture across popular music and beyond.
Black Music Month’s origins trace back to 1979. In that year, a decade after the Civil Rights era, President Jimmy Carter designated June a time to celebrate the cultural and historical significance of Black musicianship and held the first ever Black Music Month celebration on the White House lawn. That makes 2025 its 46th annual commemoration.
But what inspired Black Music Month in the first place, and how has it evolved?
What is the history of
Black Music Month?
Black Music Month was originally founded in 1979, but not by President Carter.
Credit goes to Philadelphia soul pioneer Kenny Gamble of Gamble and Huff and a couple of other associates, said Naima Cochrane of the Black Music Action Coalition, an advocacy organization founded in June 2020 following a music industry blackout in response to the murder of George Floyd.
“Black Music Month was founded out of an organization called the Black Music Association,” she says.
Gamble based his organization, founded in 1978, on the Country Music Association because he saw how much power and influence they held in the country music business, Cochrane explains. He aimed to do the same with Black stakeholders in the music industry. Those included promoters, retailers, bookers,
venue owners, executives, artists and household names like Rev. Jesse Jackson and Motown Records founder Berry Gordy.
Black Music Month, coincidentally, was brought forth by Gamble, Cleveland radio DJ Ed Wright and media strategist Dyana Williams.
“Black Music Month was originally created to promote, protect, and perpetuate the business of Black music, not just to celebrate Black music,” says Cochrane. “The tagline was originally ‘Black music is green,’ and it was meant as a way to drive retail sales to increase awareness for the artists but honestly, really to increase the business of Black music, and not just to celebrate the history of Black music.”
“It’s evolved into something different over the years… The original intention has gotten lost,” she says. “The original purpose of the month was to prove that the business of Black music was profitable.”
How is Black Music Month celebrated?
Each June, Black Music Month is recognized with a presidential proclamation.
Frances Murphy Draper
“During Black Music Month, we celebrate the Black artists and creatives whose work has so often been a tidal wave of change — not only by defining the American songbook and culture but also by capturing our greatest hopes for the future and pushing us to march forward together,” President Joe Biden’s 2024 proclamation read. “Black music is a staple of American art and a powerhouse of our culture — that is why we must continue to open doors for the next generation of Black artists.”
Under the Obama Administration, Black Music Month was renamed African-American Music Appreciation Month but it’s since gone back to its roots.
Black Music Month “is an acknowledgement that Black music is an original American artform and has influence in almost every other American art form. But it was designed to drive the business of Black music to Black stakeholders,” Cochrane added.
In the years since its origins, Black Music Month has often been used as a salute to Black music excellence: 30 days to celebrate Black musicianship across media platforms,
museums, streaming platforms, and beyond. But some fear that concentrating the observance might have limiting effects.
What are some of the differing opinions about Black Music Month?
“I always felt conflicted: happy to see the uplifting of Black artists but disappointed that Black Music Month only benefitted superstars (and ostensibly turned the other 11 months over to White musicians),” 4AD Records label manager Nabil Ayers wrote of Black Music Month in 2021.
“Musically, the Black Music Month that I knew in the ’90s and 2000s focused on the artists who could potentially sell the most records,” he continued.
“But the reality is that it costs money to make music, and financial support for artists matters now more than ever.”
Of course, there are varying opinions. In 2016, Philadelphia resident Branford Jones started “They Have the Range,” a popular Instagram account with one million followers, dedicated to showcasing Black singers.
“When I created it, Black music programming wasn’t really there,” he says, noting a few other performance pages that “weren’t posting everyday Black people,” and a modern-day dearth of shows like “Soul Train” or BET’s “106th and Park.”
“For ‘They Have the Range,’ every month is Black Music Month,” Jones says, laughing. “But it’s important to have a Black Music Month, especially in a time where so many people are trying to erase historical context. ... We know how much Black folks have contributed to the world when it comes to music.”
He cites the Hulu series “The 1619 Project” as an influence: “One of the things they said about Black music is that it’s uncatchable. Every single decade, (Black music) has been able to shift, change, and lead the masses.”
For him, Black Music Month is an opportunity for celebration that can endure all year long — and it feels especially poignant that it lands in the month that also holds Juneteenth.
“As time moves on, more brands will become involved, more people will get involved,” he says. “And so it is important to recognize it.”
This article was originally published by
“During Black Music Month, we celebrate the Black artists and creatives whose work has so often been a tidal wave of change — not only by defining the American songbook and culture but also by capturing our greatest hopes for the future and pushing us to march forward together.”
AP Photo/ Joseph Kaczmarek
In this Nov. 17, 2010 photo Kenny Gamble (right) and Leon Huff, the famed music production duo, pose for a photo during a street naming ceremony in Philadelphia. Gamble is credited as a co-creator of Black Music Month, along with DJ and broadcast executive Ed Wright (not shown).
Photo courtesy of the National Museum of African American Music Broadcaster, media strategist and producer Dyana Williams is known for her work in the music industry. She helped create Black Music Month decades ago.
Celebrating Black music month: From Billie to Gabby, Go-Go to Gospel
By Frances Murphy Draper AFRO CEO and Publisher
As June arrives, so does the rhythm that lives in our bones and dances down our streets. It’s Black Music Month—30 glorious days to celebrate the soundtrack of our heritage, our hustle and our hope. From smoky jazz clubs and soulful ballads to gospel choirs, hip-hop verses and go-go grooves, Black music has always been the heartbeat of the Baltimore-Washington corridor. Here in our region, the echoes of history ring loud. We still hum “God Bless the Child” and “Strange Fruit,” thanks to Baltimore’s own Billie Holiday— “Lady Day” herself—who found her voice in the rowhomes of West Baltimore. Then there’s the zoot-suited genius Cab Calloway, who let loose his signature cry— “Hi-de-ho!”—from Pennsylvania Avenue to the Cotton Club.
We also remember Chick Webb, the brilliant, drum-thundering bandleader born in East Baltimore. He mentored a teenage Ella Fitzgerald and led one of the hottest swing bands at the Savoy Ballroom. And Eubie Blake, the composer and ragtime legend who gave us “I’m Just Wild About Harry” and co-wrote the first Broadway musical written and directed by African Americans. Both men helped put Baltimore on the musical map long before GPS was invented.
Meanwhile, Washington, D.C., gave us its own musical royalty.
Duke Ellington, the jazz titan born in the Shaw neighborhood just steps from U Street, shaped the sound of an era. From “It Don’t Mean a Thing (If It Ain’t Got That Swing)” to “Mood Indigo,” Ellington brought elegance and edge to every note—reminding the world that the nation’s capital could swing with the best of them.
Baltimore also gave us Ethel Ennis, its First Lady of Jazz, who “bloomed where she was planted” and offered the world “Don’t Go to Strangers.” And Ruby Glover, the city’s Godmother of Jazz, not only lit up local clubs with her smoky voice but also taught jazz history and helped found the Billie Holiday Vocal Competition.
But jazz wasn’t the end of the story.
The Royalettes, Baltimore’s glamorous teen girl group, swept
onto the national scene in the 1960s with their lush hit, “It’s Gonna Take a Miracle.” Mario, known for his hits, “Just a Friend 2002,” “Let Me Love You” and more, also hails from Baltimore. Meanwhile, D.C. raised Mýa (“It’s All About Me”), crafted the poetic rapper Wale— who fused hip-hop with go-go in “Pretty Girls”—and shaped the timeless, socially conscious voice of Marvin Gaye. From “Let’s Get It On” to “Mercy Mercy Me,” Marvin’s music continues to provide the soundtrack to both our joy and our justice.
And speaking of go-go, no celebration of D.C. music is complete without it. Born in the capital and championed by Chuck Brown, go-go remains a cultural anchor.
We also celebrate Sisqó, the dynamic frontman of the platinum-selling group Dru Hill, whose roots run deep in Baltimore—aka “Charm City.” Known for his explosive stage presence and unforgettable voice, Sisqó helped launch Baltimore’s R&B (rhythm and blues) scene onto the global stage in the late 1990s and early 2000s.
Then there’s Maysa, the internationally acclaimed jazz and soul singer who continues to represent Baltimore on the world stage. A Morgan State University graduate and former member of Stevie Wonder’s Wonderlove, Maysa rose to fame with the British acid jazz band Incognito and has since built a powerful solo career. Her
sound—smooth, rich and deeply soulful—embodies the spirit of the city she still calls home.
Of course, music is nothing without the spaces that nurture it. Baltimore’s iconic Sphinx Club, founded in 1946 by Charles Tilghman, was one of the nation’s first Black-owned private nightclubs. Known for its elegance and exclusivity, it became a haven for Black entertainers, entrepreneurs and dignitaries.
And for me, it’s personal.
My late father, James “Biddy” Wood, was not only a journalist and promoter but also a board member and vital force behind the Sphinx Club’s success. He brought artists like Billy Eckstine and Gloria Lynne to the stage and used his platform—as a club owner, editor and community advocate—to elevate Black entertainment in this city. And though she wasn’t a Baltimore native, my stepmother, the beloved singer Damita Jo, made this city her home for the last 30 years of her life.
Today, the torch burns bright. Gabby Samone, a 22-year-old Baltimore powerhouse, wowed “American Idol” judges this year with vocals that channeled Whitney Houston. She’s walking a path paved by Lady Day, Ethel, Maysa, Sisqó— and every choir director who ever said, “Sing that again, baby.”
And let’s not forget the gospel.
D.C.’s Richard Smallwood gave the world “Total Praise,” and Baltimore’s Stars of Faith toured with Mahalia Jackson and lit up Broadway in “Black Nativity.” Choirs like the Howard Gospel Choir, the world-renowned Morgan State University Choir and contemporary trailblazers like Anthony Brown and Group TherAPy and Maurette Brown Clark continue to uplift us with sacred sound and joy-filled praise.
Of course, these are just a few of the many artists who have shaped— and continue to shape—our region’s rich musical tapestry. From gospel to
jazz to hip-hop, the Baltimore-Washington corridor is alive with talent, passion and soul.
Black Music Month is more than a commemoration—it’s a celebration of how we move, praise, protest and persevere. From Billie to Gabby, Chick to Chuck, Duke to Dru Hill, the Sphinx Club to Sunday morning choirs, our region has always had range, rhythm and revelation.
As CEO and publisher of this historic and forward-moving Blackowned media company, I offer my deepest thanks to the AFRO’s incredible editorial, advertising, digital and content design teams for bringing this special Black Music Month edition to life.
And while I don’t sing or play like any of the artists mentioned here, I have an undying and passionate love for good music—and I can hum with the best of them.
Because we don’t just make music—we make memories. And they come with a beat.
Baltimore native Gabby Samone represents the next generation of artists to make a name for herself in the music industry. AFRO Photo / James Fields
Cab Calloway, the big band leader whose sound went around the globe, moved to Baltimore with his family around age 11. He honed his talent in the juke joints of Baltimore before launching into a career that made him a cultural icon. Shown here, Calloway in Dec. 1947. Photo courtesy of the AFRO Archives
Tamir “Nokio” Ruffin (left), Rufus “Skola” Waller, and Mark “Sisqó” Andrews, members of R and B group Dru Hill, hold street signs bestowed upon them in a Baltimore ceremony to honor the artists in their hometown. AFRO Photo/ Wesley Robinson
Dr. Frances Murphy Draper serves as AFRO CEO and publisher. This week, she discusses the homegrown entertainers who have influenced American culture.
Courtesy photo
Born in 1915, Billie Holiday is remembered as the feisty songstress with a sultry, soulpiercing sound. Photo courtesy of the AFRO Archives
The lasting impact of hip-hop lyrics on Black communities
By Andrea Stevens AFRO Staff Writer astevens@afro.com
No matter the genre- lyrics hold power. Whether the words to your favorite song praise God or celebrate life and love, there’s no denying that many times one of the strongest influences can be a message provided through song.
This week, in honor of Black Music Month, the AFRO spoke with artists and members of higher academia to answer an important question: In 2025, how important are the lyrics?
“Lyrics literally live in your subconscious... that’s probably one of the most important parts of a song,” said Ashia Bello, a vocalist, songstress and music professional with more than 20 years in the industry.
She emphasized how many of today’s hip-hop lyrics, rooted
in struggle, have the power to shape listeners’ mindsets—even if they haven’t lived those experiences themselves.
“Music is a really useful mechanism for controlling all kinds of things... if you’re not really in control of what’s being said, then most likely you’ll adopt it,” she said. “Rap and hip-hop lyrics are birthed in struggle. And I think when you listen to that constantly, then you adopt the struggle, even if you don’t have the struggle.”
Dr. Rice, a professor in the College of Behavioral and Social Sciences at Coppin State University, also weighed in.
“Rap and hip-hop music, from a historic as well as contemporary lens, provides insight into the lived experience of people and communities through the words and lyrics of the artists in this genre,” he said “At its best, rap and hip-hop
music promote love and respect while educating, inspiring and motivating people to improve conditions. At its worst, some aspects of the music reflect misogyny, greed, violence and premature death, issues that society, particularly Black communities, continues to grapple with.”
Tamara Soden, a musician and lyricist, echoed similar concerns about the power of repetition and representation.
“At first, rap lyrics were in tune with what was going on around… it was speaking to the condition of the people,” Soden said. “Now, it’s a lot more self-centered.”
For Soden, the power of lyrics is undeniable.
“Words have power. That’s the reason why, when you hear a song, it moves you… whether it’s a good place or a bad place, it still puts you in a place,” she said.
An AFRO inside look: The human toll of drill rap
By Megan Sayles AFRO Staff Writer msayles@afro.com
Sincere Jazmin, 16, was shot and killed by another teen at a bus stop in Queens, N.Y. on March 26. The young man was an aspiring rap artist who went by the name, “Sdot Blokka.” His style of choice was drill rap, a subgenre of hip-hop known for dark, aggressive beats and lyrics that depict violence, gang activity and street life.
Following his murder, videos from other local drill rappers celebrating and mocking his death quickly surfaced on social media. His father, Miguel Jazmin, took to Facebook to express his distress.
“I don’t wish this on anybody. Our kids are supposed to be our future. My soul is everywhere,” said the grieving father, in a video posted to the platform. “My son was only 16 years old. Yeah, he might have been doing drill music and so forth, but he was a good boy.”
A spokesperson for the New York Police Department told the AFRO there were no updates in the teenager’s case. The investigation is ongoing.
Sincere Jazmin is not the first drill rapper to succumb to gun violence. In recent years, dozens of drill rappers have lost their lives due to “rap beefs,” or public feuds between hip-hop artists that are often expressed through diss tracks, social media posts and, at times, face-to-face confrontations.
They can be sparked through personal disputes, perceived disrespect or even regional rivalries, whether in recording studios or on the streets of urban communities across the country. Though some remain verbal and artistic – like the discord between Kendrick Lamar and Drake – others result in gun violence and fatalities.
In Philadelphia, 17-year-old Noah Scurry was shot to death outside of his home on Jan. 14 just 24 hours after joining the drill rap scene under the name, Joker Otv. The day before his death, he uploaded his first music video, “SWING MY DOOR,” to YouTube. The song depicted tales of killing with lyrics like, “You gotta catch a body to gang with us.”
In Chicago, three drill rappers died after being shot in the summer of 2024 alone: YBC Dul, LilScoom89 and Bloodhound Lil Jeff. The trio collaborated on a song, released in July 2024, titled “LongLiveJeffreyDahmer” after the infamous serial killer. In one line of the track, the rappers say they are “in love with killin.’”
In August 2024, 16-year-old Kaeden Holland, known by his rap name “Baby K,” was sentenced to 25 years in prison after trying to kill a 14-year-old boy on a Prince George’s
is a vocalist, songstress and music professional with more than 20 years in the industry.
She also believes the music industry itself plays a significant role in shaping negative messaging.
“If there is an agenda, it’s from a producer standpoint… the label chooses who they sign, who they put out,” said Soden.
Both Soden and Bello expressed a strong desire for change in the tone and messaging of modern rap music.
“I wish today’s music had a little more positive effect instead of having us in this thing where they are out for the money
because of marketing,”
said. Bello echoed that sentiment. “I would love to hear more positive, uplifting music, even in rap... something that makes us see ourselves as something more,” she said.
County, Md. school bus in 2023. Holland and two other masked teens attempted to shoot the boy, but they were unsuccessful, prompting them to brutally beat him.
Days after the attack, a song called “LLM” was posted to his Apple Music account. The track’s lyrics included, “I’m never gon’ stop, they stormin’ outside, put a switch on my Glock,” and “We stand on the gang, we don’t shoot from afar.”
“When you listen to the lyrics in drill rap music, there is a strong presumption that the songs are being used to incite violence and take credit for violent acts, oftentimes between neighborhood crews,” said Aisha Braveboy, state’s attorney for Prince George’s County. “That is dangerous. In many instances, it is terrorizing communities. People are losing their lives and individuals engaging in the violence are going to prison.”
According to The Music Origins Project, drill music originated in the South Side of Chicago during the early 2010s. When a person “drills” someone, it means they shot them with an automatic weapon.
The hip-hop subgenre many times, drill songs reference real-life conflicts and crimes.
Braveboy said her office has even used drill music as evidence in the cases they prosecute.
“It’s important for individuals to remember that life isn’t a rap video, and actions have consequences,” said Braveboy. “What we want people creating this music to do is redirect their words and messaging in a positive way that creates a better community, rather than causing the hurt and pain that results from the violence.”
The death toll of surrounding drill rap has led some to ask whether the music solely reflects the harsh realities of urban life— or reinforces the violence it describes.
Australian researcher Merrick Powell has conducted multiple studies on the impacts of violent music, examining its influence on people’s psychological well-being. He said a song’s tempo or sound can affect a person’s emotions. Music can also connect people to specific times, places and memories in their lives.
His doctoral thesis examined how listening to violent music can impact people’s behaviors, emotions and mental state. Though he said research from two decades ago suggested that listening to violently-themed music could make people more likely to have aggressive thoughts, his study concluded otherwise.
“When we recruited fans of heavy metal or rap music—drill, ‘90s gangster rap—we found that they had really positive experiences listening to the music and reported very low levels of anger and tension,” said Powell. “It really depends on the type of person and their relationship with the music, rather than just the content of the music itself.”
Sincere Jazmin, 16, is one in dozens of drill rappers who have died by gun violence in recent years. The aspiring rapper, known as “Sdot Blokka,” was shot and killed by another teen at a bus stop in Queens, N.Y. on March 26.
“It’s important for individuals to remember that life isn’t a rap video, and actions have consequences.”
There are populations of people who are more vulnerable to the negative effects of violent music, though. Powell said they include people experiencing depression or depressive symptoms and people with obsessive passion, which occurs when a person entangles too much of their identity with a given activity. In drill rap’s case, this can lead to a toxic relationship with the music, leading them to feel worse after listening to it.
As teenagers often grapple with their identities, they may also be at greater risk of having negative experiences as a result of drill rap’s violent themes.
“It is possible that teenagers might be experiencing more issues with finding themselves and their identity, and we know that young people are often more vulnerable to depression,” said Powell. “They may be at a greater risk of having an unhealthy relationship with music.”
Amid concerns over the violence associated with drill rap, some community advocates are
pushing for more positive forms of rap that aim to uplift communities rather than glorify or incite bloodshed. One example is Sajda “Purple” Blackwell, founder of Blackwell Culture Alliance.
Established in 2018, the Philadelphia organization works to counteract gun violence through music advocacy. It provides a safe, creative outlet for young people in the city.
“We wanted to make sure that there was a lane for what was being called, ‘conscious rap,’” said Blackwell. “We took on a responsibility at Blackwell Cultural Alliance to particularly help young artists bring in a positive lineage of music.”
The nonprofit regularly hosts open mic nights against gun violence called, “How Dope Are You?” During the event, aspiring artists compete for cash prizes, but their songs cannot celebrate gun violence or use the N-word. They created the competition after seeing the rise in drill rap and other violent music.
“We began to see that the popular thing to do was to talk about who you’re ‘merking’ or ‘offing’ next,” said Blackwell. “We felt that it was problematic. With ‘How Dope Are You,’ our goal was not to get rid of drill or trap music, but to make a lane for music that’s fun, loving, exciting and talks about solutions.”
Blackwell believes the contest is helping to show young people that positive rap can be just as respected and culturally relevant as harder, more violent tracks.
“We are creating a wave of positive music on purpose,” said Blackwell. “It’s contagious.”
Soden
Courtesy photo/ Ashia Bello Ashia Bello
Courtesy photo/ Crystal Pennix Tamara Soden is a musician, lyricist, and recording engineer with more than 35 years in the musical industry.
Courtesy Photo/ Dr. Rice
Dr. Rice, a professor at Coppin State University in the College of Behavioral and Social Sciences, believes lyrics have the power to lift people up or tear them down.
Photo courtesy of GoFundMe.
Bailey and Martell: Honoring the legends who shaped country music’s past, present and future
By Tashi McQueen AFRO Staff Writer tmcqueen@afro.com
Black Americans have contributed much to American society, music and culture, yet through history have often gone unrecognized. The country music genre is no different.
From Black early country artists such as DeFord Bailey and Linda Martell to new contributions from renowned singers of today such as Beyoncé Knowles, Black artists are met with much resistance when seeking to make their mark.
“Some fans of country music like to pretend it came up pure, untouched by Black influence or Black culture,” said Kyle Stanley, a pop culture and media researcher.
“That version of the story is easier to sell, but it’s not the truth.”
In the 1920s, Bailey, country’s first African-American star, played the harmonica at the Grand Ole Opry in Nashville, Tennessee — a cornerstone of country music. From the 1920s to the 1930s, Bailey grew to fame via Nashville’s famous WSM Radio.
“He helped shape the sound before it even had ‘the rules’ as we see them today,” said Stanley. “He was a star.”
But in 1941, Bailey’s radio career hit a standstill as a result of a dispute between the radio industry and the American Society of Composers, Authors, and Publishers pertaining to licensing fees the organization charged radio stations for playing its members’ songs. Shortly after being fired, he quit his professional career.
“As someone who has lived in Nashville for years, it’s truly so hard to see any of the faces of Black Art and culture who help shape the genre,” said Stanley.
Linda Martell, 83, came onto the country music scene in the 1960s. She was the first Black woman to perform at the Opry.
But, similar to Bailey, Stanley said the country music world never gave her the space to grow.
“She made history and then got pushed aside,” said Stanley.
Stanley said the country music world largely
forgot her name, but through Knowles’ recent foray into country music, Black artists’ contribution to the genre is now back in the public eye.
Stanley described some of the issues as country fans’ attempts to make a clear distinction between what is “real country” and what is not.
static.
“They are told to pick one sound and stick with it,” said Stanley.
“DeFord Bailey deserved more,” added Stanley. “Linda Martell did too. The artists making music now are still dealing with the same resistance. They are not trying to break into something new. They are returning to
“They are not trying to break into something new. They are returning to something that was already theirs.”
“The same thing is still happening now,” said Stanley, referencing how Black country artists are told to make music within a certain aesthetic or it does not count as authentic country.
Stanley said when Black artists try to experiment as other white artists may, they’re met with more resistance.
something that was already theirs.”
Lyric Mandell, a director of media and public relations at MOXY Company, emphasized that revisiting the contributions of Bailey and Martell today isn’t about recovering what was lost, but reasserting their rightful place in the genre’s foundation.
“By stepping into a genre that has long positioned itself as racially and regionally ‘authentic,’ artists like Beyoncé challenge the idea that country belongs to a single demographic or aesthetic tradition — and remind us of the deep history of Black artists like DeFord Bailey and Linda Martell who came before her,” said Mandell. Mandell said times where artists crossover styles, techniques into other genres reminds the world that genres should never be considered
“They’re built, contested, and reshaped over time,” said Mandell. “Beyoncé’s presence in country forces a re-evaluation of who gets to be considered ‘authentic’ and why. While her move may feel disruptive to some, it’s actually in keeping with country’s long history of reinvention — a history that just hasn’t always been the most inclusive.”
Looking forward, Mandell believes there’s still much work to be done to make
the country more inclusive of the many different artists that contribute to it.
“The key shift that still needs to happen is from symbolic inclusion to structural investment,” she said.
“What Black artists in country music need are long-term pathways — consistent access to radio, playlist placement, label support, tour infrastructure, and award consideration. Without that, breakthroughs risk becoming one-offs rather than building blocks.”
Courtesy photo Kyle Stanley, a pop culture and media researcher, addresses the overlooked contributions of Black artists in country music.
Photo courtesy of the Tennessee Tribune
DeFord Bailey is known as a pioneer who helped shape country music, even though he and other Black artists were often sidelined. Their contributions challenge the idea that country music was ever a homogeneous space.
Photo courtesy of Minnesota Spokesman Recorder
Linda Martell, now 82 years young, is recognized as a trailblazing artist who cleared the way for other Black country music stars to come.
Beyond the recording studio: Musicians turned business moguls
By Megan Sayles AFRO Staff Writer msayles@afro.com
For generations, Black musicians have shaped American culture and entertainment— yet many have struggled to profit from their talent alone.
As a result, artists from gospel pioneers to hip-hop icons have redefined what it means to be a musician over time, capitalizing on their platforms to build business empires.
“It’s very difficult for artists to actually make money selling music. They’ve always had to do other things too,” said Mark Anthony Neal, an author and African and African American studies professor at Duke University. “Historically, it was taking your act on the road because artists make more money touring than selling records. Now, it’s become establishing a brand as a musician and expanding that brand to cover your business interests in order to make a living.”
Neal has penned several books about Black pop music and culture, exploring their legacy and evolution throughout time. From his perspective, one of the most prominent examples of a Black musician who merged musical talent with business savvy is the late Thomas A. Dorsey. Known as the “Father of Gospel Music,” Dorsey was a composer who blended sacred lyrics with blues music. The fusion was novel at the time, especially as many people associated the blues with the devil. But, Dorsey was also a successful businessman. In the 1930s, he founded the first
book,“The Myth and Propaganda of Black Buying Power
Black-owned gospel music publishing company, Dorsey House of Music, selling his sheet music to Black churches and choirs.
Another example that stands out to Neal is acclaimed soul artist Sam Cooke, who started his own publishing company in 1959. This allowed Cooke to retain the rights of his songs and challenged the routine exploitation of Black artists by the music industry.
Neal believes today’s Black artists have a deeper understanding of the importance of building business ventures beyond music.
“Because they’ve seen so many stories of Black artists who, for whatever reason, weren’t savvy enough on the business side and found
themselves in their 50s and 60s unable to make a living and sustain themselves, there’s a younger generation of artists that’s been so much more savvy— particularly with hip-hop,” said Neal.“I think every artist who gets involved in the business is very conscious that they can’t simply make a living by selling records or streaming music.”
Aside from his entertainment company Roc Nation, Shawn Carter, better-known as Jay-Z, has built a diverse empire that spans luxury beverages, fashion, sports management and technology investments.
American rapper Nas owns QueensBridge Venture Partners, a venture capital firm that’s backed companies like
Ring, Dropbox and Robinhood. Rihanna’s Fenty Beauty has become a billion-dollar beauty brand.
As more musicians find success in the business world, Neal cautioned that artists should not reduce the culture they create to a mere commercial product.
“Artists have to be savvy enough to know how to control the narrative of what is from the wellspring of Black cultural production as opposed to what is just being bought and sold,” said Neal. “Too many people now, including some young artists, treat Black culture as a commodity. They have to think through that because once it becomes commercial, it also becomes disposable.”
Though the growing trend
of musicians becoming business moguls may be seen as progress, some see it as a response to deeper structural problems within the industry.
“The reason Black musicians look to expand into other areas of business is because they have already been exploited and thoroughly limited within the highly monopolized and politicized environments of the music industry,” said Jared Ball, professor of communication and Africana studies at Morgan State University. “Then, they go off and try to make up for that by extending their brand and making as much as they can off of it.”
But, Ball warned that even as Black artists branch out into business to gain more control over their careers
It’s very difficult for artists to actually make money selling music. They’ve always had to do other things too.
and earnings, they often find themselves running up against the same structural barriers that limited them in the music industry.
He advocated for redistributing the profits of the music industry to better compensate the artists who create its value. This could include providing musicians with unions, health care and retirement benefits.
“Even down to the socalled ‘one-hit wonder,’ these artists are helping to produce billions of dollars for what is ultimately two to three companies on the ownership side of the music industry and two to three companies on the distribution side,” said Ball. “Instead of worrying about each individual, we should be advocating that labor be unionized, organized and better paid, protected and respected for the wealth that it produces.”
Jazzy Summer Nights opens 25th and final season at Hopkins Plaza
By Ericka Alston Buck Special to the AFRO
The warm summer air was full with nostalgia and bass beats as more than 1,000 people packed into Hopkins Plaza on Thursday May 1st for the opening of the 25th and final season of Jazzy Summer Nights—an event series that’s become nothing short of a cultural institution in Baltimore.
“It just felt right,” said Larian Finney, managing partner of The Finn Group, the longtime organizers of the event. “We started this here in 2000. Hopkins Plaza is where the rhythm began, and for our final season, we wanted to bring it home.”
There was no live musical headliner for this opener, but you wouldn’t have known it by the electric energy in the crowd. Instead, some of the region’s hottest DJs—DJ Hot Toddy, Mr. Incredible, DJ Manny, and DJ Hi-Def— tag-teamed the turntables, delivering high-octane sets that kept the crowd dancing from 6 to 10 p.m.
The DJs weren’t alone in bringing the fire. The Bearded Drummer, whose live percussion layered seamlessly with the beats, stole the show more than once.
Nights experience.
“The vibe here is unreal—no drama, just joy,” said Benton. “It’s like everybody decided to have the best night of their summer, together.”
Midway through the evening, Finney returned to the mic with heartfelt gratitude—and a nod to the past.
“We’ve hosted this series on waterfronts and courtyards. But it didn’t matter where we were, because you all kept showing up. That’s love.”
“We started this here in 2000. Hopkins Plaza is where the rhythm began, and for our final season, we wanted to bring it home.”
The crowd? Impeccable. Decked out in bold prints, flowing dresses, summer suits and sunglasses well past sundown, everyone came ready to feel something. The vibe was electric but safe, lively but respectful—exactly the kind of experience Finney says he’s proud to have cultivated over the years.
“There’s never been an incident at Jazzy Summer Nights. Not one,” he said, during his address. “We come in peace, and we leave in peace.”
Tiffany James, 41, has been attending since the first Jazzy Summer Night in 2000. “Back then it was folding chairs and a couple hundred people. Now, it’s like a reunion, a celebration and a spiritual reset all in one,” she said, her hands lifted to the sky as DJ Hot Toddy dropped a soulful remix of “Before I Let Go.”
Across the crowd, Carlos Benton, 34, visiting from D.C., couldn’t stop moving at his first Jazzy Summer
As the crowd roared back in agreement, he welcomed first-timers and day-ones alike: “To the OGs who’ve been rocking with us since 2000, and to those dancing here for the first time tonight—thank you for helping us write this story.”
Arielle Turner, 28, smiled as she leaned into her friend to shout over the music: “You just feel safe here. You can let go. You’re surrounded by people who want the same thing: good music, good people, good peace.”
As the music soared and the crowd swayed, it was clear—this wasn’t just the beginning of the end. It was a powerful, joyful reminder of everything that’s made Jazzy Summer Nights a Baltimore treasure for 25 unforgettable years.
As the sun set over Hopkins Plaza and city lights flickered on, Finney closed with a message that struck a chord:
“Each year, we’ve pushed to create an experience, not just an event,” he said. “Jazzy Summer Nights has always been about community, connection and celebration. Let’s make this final season the boldest, brightest, and Blackest one yet.”
If opening night was any indication, the final season of Jazzy Summer Nights is on track to be unforgettable. Finney unveiled the full 2025 lineup to loud cheers.
On Aug. 7, the Go-Go Museum All-Stars will bring that D.C. energy, accompanied by DJ Farrah Flosscett and DJ Tanz. On Sept. 5, Lady Alma will headline, with DJ Quicksilva and friends. And finally, on Oct. 2, Morgan State University’s Homecoming celebration will feature none other than Dru Hill, with DJs P Drama and DJ Flow closing out the season.
Photo courtesy of Jared Ball
Jared Ball is a professor of communication and Africana studies at Morgan State University. He is also the author of the
Photo courtesy of Mark Anthony Neal
Mark Anthony Neal is an African and African American studies professor at Duke University. He is also the author of several books on Black pop culture and music.
Photo courtesy of Ericka Alston Buck More than 1,000 people pack Hopkins Plaza on May 1 for the kickoff of the 25th and final season of Jazzy Summer Nights, a beloved Baltimore tradition since 2000. With high-energy DJ sets, live percussion and a vibrant, joyful crowd, the opening night celebrates the legacy of music, community and culture in the heart of the city.
From the AFRO Archives
Snapshots of sound: A look at the icons who shaped Black music
By AFRO Staff
Black Music Month has long been a time to celebrate the achievements, activism and work of Black creatives of every genre. From country and gospel to jazz and rhythm and blues, the indelible mark made by Black artists can never be forgotten.
Still today, we pay homage to those who used their talents to sing of the struggle, celebrate Black love, raise their voices in praise and more. Take a look below at some of the well known and some not so known Black music icons who shaped the music industry and American culture.
Mahalia Jackson is still the undisputed “Queen of Gospel Music.” She gained most of her fame while on tour in the 1930’s with the Greater Salem Baptist Church choir out of Chicago. Born Oct. 26, 1911, Jackson was a native of New Orleans, La. and heavily influenced by artists such as Bessie Smith and other family members who were in the entertainment industry. Her voice carried activists through the Civil Rights Movement while also ringing out in major art venues such as Carnegie Hall. Jackson died Jan. 27, 1972 in Chicago.
Hailing from Kansas City, Missouri, Big Joe Turner made a name for himself on the blues scene with his high-energy sound that today is recognized as a form of rock and roll. Born May 18, 1911, Turner is known for his hit records “Sweet 16” and “Shake, Rattle and Roll.” He played around the country with major big band leaders such as Count Basie and even made an appearance in 1938 at Carnegie Hall’s “Spirituals to Swing” concert. Turner died Nov. 24, 1985 in Inglewood, Calif. Shortly before his death, in 1983, he was inducted into the Blues Hall of Fame. In 1987, his name was added to the Rock and Roll Hall of Fame.
Sept. 1936
Ethel Waters made her mark in the history books as a singer and actress hailing from Chester, Pa. Known as “Sweet Mama Stringbean,” by the age of 17 Waters was known in Baltimore for her performance of “St. Louis Blues.” The increasing fame led her to make a move to “The Big Apple”, where she began to appear on Broadway. Waters took part in multiple Broadway plays, including “Blackbirds” and “Rhapsody in Black.” She was so successful on stage that the movie industry came calling. She was in the film versions of the Broadway musicals “Cabin in the Sky” and “The Member of the Wedding.” Waters died Sept. 1, 1977 in Chatsworth, Calif. Though she didn’t publicize it, Waters was bisexual and in modern times she stands as an example of Black artists from the early 20th century who were also members of the LGBT community.
Hazel Dorothy Scott, born in Port of Spain, Trinidad in 1920, made a name for herself in the entertainment industry by playing two pianos at one time on stage. She starred in five Hollywood films as “herself” and demanded equal pay to her White co-stars, which made for a short but impactful career. Her fight for equality was always front and center, as she refused to play for segregated audiences. Never one to shy away from controversy, in 1945 Scott married the first Black man to represent the State of New York in the U.S. Congress, Adam Clayton Powell Jr. The two walked down the aisle just days after the preacher and politician divorced his first wife. Scott and Powell’s marriage ended in divorce in 1960. In 1950 she debuted a 15-minute show, The Hazel Scott Show, making her the first Black woman to appear on television under her own name with her own show. The segment ran three times a week and soon expanded beyond New York to the entire country. Today she is seen as a woman who paved the way for current female pianists, such as Alicia Keys.
Jan. 1929
Oct. 1940
March 1947
Dorothy Donegan was a talented pianist and vocalist who was born in 1924. Her humble beginnings in the music industry earned her $1 a night in the night clubs of her hometown of Chicago. According to the National Endowment for the Arts, “Donegan was fluent in several styles of jazz as well as with European classical music.” In 1943 she became the first Black person to hold a concert in the Orchestra Hall in Chicago. She continued her career through the decades and in 1980 she broke the attendance record for all concerts previously held at the Sheraton Centre Hotel. Her career extended into the 1990s, and she died on May 19, 1998.
Dec. 1944
According to the Gospel Music Association (GMA), the famed Golden Gate Quartet became known while still attending Booker T. Washington High School in Norfolk, Va. in the mid-1930s. Popular songs from the group include “Go Where I Send Thee,” “The Preacher and the Bear” and “When the Saints Go Marchin’ In.” Their voices took them around the world, and in 1959 the quartet secured a contract to entertain audiences at Casino de Paris for two years in France. Shown here, bass singer Landis Wilson (left), tenor Henry Owen, narrator baritone Willie Johnson and Clyde Riddick, who served as second tenor.
Jan. 1942
The roots of the Fisk University Jubilee Singers are inexplicably tied to the historically Black institution, Fisk University. The Nashville school opened in 1866, but within five years found itself struggling financially. In response, the Fisk treasurer and music professor, George L. White, decided to form a group of students into an a capella chorale. The date was Oct. 6, 1871. The students hit the road, and while on tour, picked up the name “The Jubilee Singers,” as a nod to the year of Jubilee mentioned in the Book of Leviticus, Chapter 25 of the Bible. Well over a century later, the Fisk Jubilee Singers are still invited to perform at some of America’s premier performance spaces and concert venues worldwide.
Born May 31, 1931, mezzo-soprano Shirley Verrett, an alumna of The Julliard School, hailed from New Orleans, La. Her Seventh- Day Adventist upbringing in California undoubtedly shaped her path. Verrett debuted her pristine voice at the Metropolitan Opera in 1968 as the title character of “Carmen.” Her time on the Met stage spanned 32 years and more than 126 performances. Shown here, Verrett as she boards a jet at New York ‘s Iulewild airport enroute to London and Moscow where she’ll perform the lead role in ‘Carmen’ at Bolshoi Opera. She’ll be the first African American to perform with the famed Bolshoi company.
Julian “Cannonball”
and Nat
broke into the music industry as The
The jazz musicians grew up in Tallahassee, Fl. and are still celebrated in their area, with Florida Agricultural and Mechanical University (FAMU) naming their music school after the
and
fusion jazz sound called “soul-jazz” which was popular from the 1960s to the 1970s.
June 1973
March 1980
(left)
Adderley
Adderley Brothers.
two. The brothers were born to parents who were both professors at FAMU,
they would both end up as members of the Marching 100, becoming alumni themselves. After graduation the brothers were drafted into the U.S. Army where they both performed in the 36th Army Dance Band. They created the
Feb. 1971
Sept. 1963
Circa 1947
Shown here, Sylvia Robinson, singing “Pillow Talk” on Soul Train in June 1973. Robinson is credited as the producer of the first hip-hop single, the 1979 hit, “Rappers Delight,” by the Sugarhill Gang. As founder of the Sugar Hill label, the record executive wore many hats within the music industry. Most notably, she served as the visionary who saw hip-hop as a viable genre. Robinson was inducted into the Rock and Roll Hall of Fame in 2022.
Born Dec. 5, 1931, Reverend James Cleveland gained fame as a gospel artist. He grew up in the choir of Thomas A. Dorsey, who was a strong influence on his life. His talent on the piano was noticed early on in his life and would lead to his first song ever published “Grace is Sufficient” in 1948.
Clara Ward is known as a phenomenal gospel singer who made a name for herself with the Ward Singers. The group consisted of her mother Gertrude Murphy Ward, and her sister, Willarene. The group changed in the 1950s and began to sing more secular music under a new name, The Clara Ward singers.
Jan. 1973
Baltimore community reflects on the impact of Black Music
By AFRO Intern Team
June 1 marked the beginning of Black Music Month, a time to celebrate and honor all the Black creatives that have used their talent to shape American culture and entertain the masses.
This week, the AFRO Intern team conducted interviews with the community in Baltimore to discuss what Black music means to them and share about their favorite Black artists. Read below to see the insight shared on how Black music shaped their identities and closed generational divides.
“Culture– it means so much…Black music means unity, expression–spirituality. Spirituality is highly linked to our music, I would say Black music also means emotional intelligence. If you don’t have the words to express, there’s a song for everything that would help you to express how you feel.”
“I love the melting pot too much to make someone a ‘favorite.’ I would say, who I listen to consistently on an empowerment level is Mali Music. Mali Music is not a gospel nor secular; he’s directly in the middle.”
Dominic Mitchell, 32 Baltimore Pastor and Founder This Generation Will Succeed
“Black music is the way we express ourselves. It has a lot of emotion and soul in it. I enjoy a lot of Black music – my own local music in Kenya and African music. [Black music] is the expression of the challenges and experiences that we’ve had in the past and also our hopes and expectations for the future. Black music is also a way of recording our history to some level. When you hear a song, it reminds you of a certain period of time.”
“My favorite Black artist is called Eric Wainaina, he sings about some of the challenges that [people] face in Kenya. He sings about love, politics and general feel-good music.”
Florence Nyole, 39 Kenya Traveler
“Jhene Aiko is more spiritual, but also, she tells more about real-life things and non reallife things. She puts everything together and makes it worth feeling. She gives me a more calm feeling, but also excited and sad emotions sometimes. She gives mixed emotions that can help me and help her.”
Jamiyah Pope, 14 Baltimore Student
“I think it’s nice knowing that Black artists– someone who looks like me, someone who’s had similar experiences to me–can come up in a world where everything’s getting worse [and still] express themselves and create the art they’re very passionate about. With Tyler [The Creator], his art and his albums are a deconstruction of where he is in life. I love ‘Call Me If You Get Lost’, and that was him talking about, ‘Yeah, I have money. I made it, and I’m bringing everybody up with me.’ But ‘Chromokopia’ was like, ‘Okay, we have money. I still have problems, though.’ And it made me see he’s a human just like me.”
“Black music– it’s just always been ours. I’m a big fan of jazz and we did jazz. That’s us. We made rap. We bring so much to music, and I feel like a lot of people take from it, and they don’t acknowledge the Black influence that’s there because we are music. We have music in our soul, in our DNA and that’s the most beautiful thing about it. That’s why I love music. Because I feel it, you get to experience it. It’s beautiful.”
Jordan Washington, 22 Eastern Shore of Maryland Photographer
“I listen to Black music, I listen to all types of music but, my culture is Black music. I grew up listening to Black soul music [and] rhythm and blues, but I listen to almost everything.”
“My favorite Black artist is Stevie Wonder. He made music that meant something. I think it’s important for musicians–the good ones– [to] make their music from experiences.”
Bernard McCullough, 62 Baltimore Child Care Specialist
whether
doing a cover
Bryanna Dalco, 27 Texas Teacher
“[Black Music] is culture coming to life–history, lineage, roots, beauty [and] expression. Jasmine Sullivan [is my favorite artist]. I feel every lyric–
I can relate or not, I feel it whenever she sings. Whether she’s
[or] her own music, she tells a story with just the sound of vibrato. She tells a story every time.”
The following AFRO interns contributed to this report: Marlee Jones, Tavon Thomasson, Ali Halloum, Elijah Qualls and Victoria Mejicanos.
From hymns to Hip-Hop
By Tashi McQueen
AFRO Staff Writer tmcqueen@afro.com
Gospel music and faith have long been a part of Black culture in the U.S. From hymns that would be sung on slavery fields to anthems of the civil rights movement, gospel has been there.
As Black Music Month begins, it is important to highlight the key role of gospel music in shaping Black identity and how it continues to influence culture today.
“Gospel lyrics and melodies hold the stories of our ancestors, passing them down through generations to keep cultural memory alive,” said Adeerya Johnson, a curator at the Museum of Pop Culture in Seattle. “It has preserved the language of hope, liberation and community pride.”
Johnson recently curated “Never Turn Back: Echoes of African American Music,” a new exhibition at the Museum of Pop that traces the legacy of gospel, blues, jazz and soul. It explores how these genres have long served as tools of resistance, cultural identity and communal storytelling in the lives of Black Americans.
“It was important for me to begin the story of ‘Never Turn Back’ by tracing the roots of gospel through Black vernacular and Negro spirituals… highlighting how these early sounds carried messages of survival and hope during slavery, but also a timeline of the evolution of gospel,” said Johnson. “These spirituals laid the groundwork for gospel as a sound of upliftment, a source of power and collective healing in the face of oppression.”
The exhibit includes how gospel music has always been dynamic, evolving to meet the changing tastes of each generation.
“In ‘Never Turn Back,’ I show how gospel has evolved and infused itself into hip-hop through Christian Rap, R&B and even trap music,” said Johnson. “It’s cool to see how gospel artists continue to blend the traditional sounds and homiletics of the genre to connect to younger audiences.”
“Gospel lyrics and melodies hold the stories of our ancestors, passing them down through generations to keep cultural memory alive.”
Johnson said she sees gospel music as a foundational and encouraging space for younger Black artists to build strong skills as musicians and singers.
“Even in secular music, you can hear the influence of gospel,” said Michelby Whitehead, a public relations strategist.
Whitehead said Fantasia Barrino, Patti LaBelle and Raphael Sadiq of “Tony! Toni! Toné!” are artists that have a background with gospel and intertwine aspects of it into their work.
Looking forward, Johnson said seeing more young artists draw from those musical structures and build those skills through gospel music will be exciting.
“Perhaps the music can give them a sense of passion and connection to a rich history of Black lineage and cultural authenticity, helping them navigate their Black identities and push the boundaries of their musicianship,” said Johnson.
As for the future of gospel music, Whitehead hopes that artists stay true to the spirit of the genre.
“Gospel music has been becoming more
mainstream–you can’t tell if it’s a gospel song or if it’s a pop radio hit about a love interest,” said Whitehead, who grew up singing in church herself. “The purpose of gospel music is to bring people to the gospel of Christ so that they actually want to hear the word and come to God and form a relationship with him. If we remember what the whole point is in the first place, then we can get that mission accomplished.”
Johnson believes that gospel music will always have a home in Black culture.
“Gospel music is deeply rooted in the Black church, where it’s not just music but an important
space for Black community, strength and resistance,” said Johnson. “The Black church has always been a gathering place for Black voices, so gospel music’s role as a rallying cry for justice and a way to uplift and connect through faith and culture will always be central to its history.”
“As we continue to reckon with systemic injustices and celebrate our triumphs, gospel’s messages of faith, perseverance and Black joy remain essential,” added Johnson. “I see its future as expansive…where it continues to cross genres, inspiring social movements and serving as a testament to our collective resilience.”
Photo courtesy of Ivy Harris
Adeerya Johnson, who curated the “Never Turn Back” exhibit at the Museum of Pop Culture, explores gospel’s impact and evolution in Black culture.
Anna Mae Robertson, ‘Six Triple Eight’ member, dies at 101
By AFRO Staff
Anna Mae Robertson, one of the last known surviving members of the famed 6888th Central Postal Directory Battalion, died May 30. She was 101.
Robertson, and all the 855 members of the “Six Triple Eight,” as the unit is called, are inspiring a new generation of Americans now that their historic contributions and courage are receiving long overdue recognition. In April, the women were awarded the Congressional Gold Medal for their sacrifice in World War II (WWII). And, late last year, Tyler Perry’s Netflix film “The Six Triple Eight,” starring Kerry Washington, shone a global spotlight on the trailblazing military veterans.
“It was an unforgettable privilege to kneel beside this elder and thank her for her service, and to talk with her about the film we’ve made that is inspired by their bravery, and to hug her and express my love and gratitude for her journey,” Washington said late last year after meeting Robertson. “The courage of these women—facing not only war but the deep injustices of their time— is unmatched. Their service was revolutionary, driven by love of country and dedication to one another.”
The 6888th was formed in 1944 after a hard fought campaign by Mary McLeod Bethune and her allies to include Black women in the Women’s Army Corps. They became the first and only all-female African American unit deployed overseas during WWII, when in 1945 they were sent to England to sort and distribute backlogged mail intended for U.S. troops, government personnel and Red Cross workers serving in the European theater.
The task was a daunting one: boost troop morale by sorting and delivering the millions of letters and packages that filled several hangars to the ceilings–while also doing what was necessary to sustain themselves in the segregated unit.
The women processed an average of 65,000 pieces of mail per shift, oftentimes having to decipher the intended party’s name based on little or ineligible information.
“Some of the letters were addressed to just ‘Buster’ or ‘Junior,’” said retired Army Col. Edna Cummings, a Six Triple Eight expert who was instrumental in the group’s congressional recognition, in an interview with DAV.org, a veterans support organization. “Can you imagine receiving the letter [addressed to] ‘Buster, Europe’?”
The 6888th was given six months to clear the estimated 17 million pieces of mail moldering in the warehouses. They completed the job in three. Then, they went on to different posts in France to do the same.
“You had some of the best and brightest minds in the nation who were able to solve a problem,” Cummings said.
Robertson joined the Women’s Army Corps as a means of becoming self-sufficient.
She was born March 5, 1924, and grew up in Osceola, Arkansas, where her family worked on a crop farm, according to DAV.org. After her mother died, a young Robertson and her brother were effectively orphaned, and struggled with poverty as they bounced around from one relative’s house to another.
Both she and her brother saw the military as a way out of poverty, and by 1945, Robertson had enlisted and trained in several states before being assigned to the 6888th.
“I feel like I was a different person after we had to sail across the ocean,” Robertson said in a 2014 interview with the Wisconsin Veterans Museum. But despite the monumental task they faced and the inherent danger of war, Robertson said in that interview that she was more afraid returning home than she was entering military service.
“I had a lot more to worry about because it’s all on you. Otherwise, the Army [was] taking care of everything,” she said, later adding, “I had to get out on my own sometime to start doing something.”
Robertson followed a friend to Milwaukee and stayed. She worked at a fish
factory, at first, but eventually gained employment as a nurse’s aide, including at the currently named Clement J. Zablocki Veterans Affairs Medical Center in Milwaukee. Within a few years, she met and married John Robertson, also a World War II veteran, and had seven daughters and one son.
Sheree Robertson, her daughter, described her mother as a devoted parent with an infectious spirit, who despite the rigors of raising eight children and juggling various jobs always made time for their special treat – homemade french fries. But, Sheree also remembered her mother’s stories about her military service.
I am thankful that my constituent, Ms. Robertson, was able to receive her flowers while she could still smell them.
“My mother talked about her military service to her children, particularly to me because I was interested in my mother’s military service as a child,” Sheree told DAV.org. “Based on what she shared with me, she always focused on the sisterhood of the Six Triple Eight and how the women looked out for each other. And she would say things like, ‘Oh, we shared each other’s clothes, we did each other’s hair.’ They were just like family.”
Congresswoman Gwen Moore, who represents Milwaukee on Capitol Hill, said she was honored Robertson chose to make the city her adopted home.
(The WWII veteran had been slated to lead the city’s Juneteenth celebration as grand marshal, an honor her family will now fulfill.) Rep. Moore said she was also honored to have played a role in championing legislation to award Six Triple Eight members the Congressional Gold Medal.
“After receiving the Congressional Gold Medal and national recognition decades after her heroic service,” Moore said in a statement, “I am thankful that my constituent, Ms. Robertson, was able to receive her flowers while she could still smell them.”
Actor Kerry Washington, of “Scandal” fame, meets Anna Mae Robertson, one of the last surviving members of the famed 6888th Central Postal Directory Battalion, in October 2024. Washington played Lt. Col. Charity E. Adams-Earley, who led the Battalion, in Tyler Perry’s Netflix movie, “The Triple Six Eight.”
Instagram/ Kerry Washington
Photo courtesy of National Archives
Maj. Charity E. Adams, (front) and Captain Mary Kearney (back, left), inspect the first contingent of members of the Women’s Army Corps assigned to overseas service with the 6888th Central Postal Directory Battalion in England.
AFRO Photo / Alexis Taylor
The 6888th Central Postal Directory Battalion was awarded the Congressional Gold Medal on April 29 after their historic and heroic efforts during World War II were finally unearthed and given the attention they deserved.
that immigration policy is better handled through executive action than city statute.
Bowser moves to formally repeal D.C.’s ‘sanctuary city’ status
By Martin Austermuhle
It was five years ago that Mayor Muriel Bowser called D.C. a “proud sanctuary city,” but now she’s trying to scrub the designation and protections it offers some immigrants.
As part of her proposed budget for 2026, Bowser is pushing to repeal a 2019 law that limits how and when city agencies – notably the Department of Corrections and Metropolitan Police Department –can cooperate with federal immigration enforcement efforts.
The Sanctuary Values Amendment Act addressed what are known as detainer requests, when Immigration and Customs Enforcement agents ask local law enforcement or a jail to hold someone who would otherwise be released so they can be picked up
UDC launches
‘Cybersecurity Tech Hub’ at Congress Heights campus
By Megan Sayles AFRO Staff Writer msayles@afro.com
A new apprenticeship program is helping Washingtonians land careers in the country’s growing cybersecurity industry. The University of the District of Columbia (UDC) recently launched the Cybersecurity Tech Hub at its Congress Heights campus in Ward 8. Through the program, District residents have the opportunity to learn while they earn, receiving hands-on instruction, competitive wages and full benefits. The inaugural cohort of 50 individuals began their training in April. For one member, Joshua
Hawkins, the opportunity came when he needed it most. The 31-year-old is a new father, and he’d been job searching for nearly a year prior to the apprenticeship.
“This is the first program that I’ve ever been in where there’s actually results from it. I’m benefiting greatly,” said Hawkins. “I’m able to learn. I’m able to study when I get home. I’m able to make enough money where I don’t have to get a second job and overwhelm myself to get food on the table.”
The 31-year-old previously participated in training courses for cybersecurity and information
By Tashi McQueen AFRO Staff Writer
The Prince George’s County Council has approved the Acting Prince George’s County Executive Tara Jackson’s fiscal year (FY) 2026 proposed budget.
“I’m incredibly proud of the collaborative effort that led to the passage of this year’s budget,” said Jackson in a statement on May 30, the day after the passage of the budget. “Together, we delivered a budget that puts people first and positions Prince George’s County, Md. for a more stable and equitable future.”
The adopted $5.8 billion budget prioritizes protecting core services while continuing critical investments in public education, safety, housing and infrastructure despite the instability and tricking deficit from current state and federal funding issues. The budget will be fully enacted on July 1.
“This year, more than ever, the budget required us to dig deep, not just into spreadsheets and forecasts, but into the lived experiences of the people we represent,” said Council Chair Edward P. Burroughs
“I am a firm believer that leadership starts with listening, and we have heard loud and clear from our community about what matters to them.”
Photo courtesy of the Prince George’s County Council Vice Chair Krystal Oriadha (PG-D-07) celebrates the council’s new funding for the Black Maternal Health Fund, prioritizing health equity in Prince George’s County’s FY 2026 budget.
Courtesy photo
Acting County Executive Tara Jackson applauds the passage of the FY 2026 budget, which prioritizes education, safety, housing, and stability in Prince George’s County, Md.
Courtesy of D.C. Mayor Office
Mayor Muriel Bowser defends her proposed repeal of D.C.’s sanctuary law during a May 29 press conference, arguing
Photo courtesy of UDC
Joshua Hawkins, an inaugural cohort member of the University of the District Columbia’s apprenticeship program, speaks in support of the historically Black college’s new Cybersecurity Tech Hub in Congress Heights. The program is the result of partnership between the university, Accenture and PeopleShores. Shown here, U.S. Deputy Secretary for Labor Keith Sonderling (left); Maurice D. Edington, president of the University of the District of Columbia (UDC); Hawkins; Murali Vullaganti, CEO of PeopleShores, and Marty Rodgers, head of health and public service client group for Accenture.
Photo courtesy of Amani Walker
Amani Walker is a resident of Ward 7 and a cohort member of a new apprenticeship program offered through the University of the District of Columbia’s Cybersecurity Tech Hub.
PG Council
clear from our community about what matters to them.”
Top priorities of the budget include $6 million for the Council’s non-departmental grants, $1.5 million for county executive grants, $800,000 for a litter cleanup program, full funding for the labor trafficking unit and $250,000 to support a program that delivers meals to older residents. This budget does not include any increases in taxes.
The council was also able to allocate $250,000 to the Black Maternal Health Fund, an initiative Council Vice Chair Krystal Oriadha (PG-D-07) has championed.
“This is an incredible moment for all women of color in Prince George’s County, Md.,” said Oriadha. “This is an issue I am very passionate about, as a Black mother who experienced birth complications. I am so grateful that Chair Burroughs and my fellow council members have joined in making Black maternal health a priority, and I know that we will have happier, healthier families here in Prince George’s County, Md. as a result of this monumental funding.”
The $250,000 marks the first time the council has allocated resources toward Black maternal health.
The council was also able to preserve funding for Prince George’s County Community Television, supported a new webpage that provides re-entry resources for citizens returning from incarceration and stopped a 30-day hiring delay for first responders.
“I am incredibly proud of this final budget, and all that we were able to squeeze into it, despite challenging circumstances,” said Burroughs. “This budget is a reflection of our
values and priorities as we shape the future of Prince George’s County, Md., one that is more just and more equitable for all Prince Georgians, in every corner of our county.”
Tech Hub Bowser
by immigration agents. The law – which was unanimously approved by the D.C. Council and signed by Bowser – prohibits agencies from honoring such detainer requests, unless a warrant or judicial order is provided, and forbids federal immigration officials from questioning people in the city’s custody.
D.C. lawmakers and supporters of the measure argued that it would promote public safety by reassuring immigrants nervous about interacting with local police that they could safely report crimes. The idea is enshrined in the law itself: “The District has a responsibility to ensure that all residents are respected and able to interact with public safety officials without fear of adverse civil immigration action,” reads the council legislation. “Collaborating with ICE, including by complying with detainer requests, does not promote public safety.”
Similar “sanctuary city” measures were enacted liberal cities and jurisdictions across the country, from Arlington County to the state of California.
Speaking on May 29, Bowser said that the sanctuary-city provision may not belong in city law, but could possibly be addressed through other means like executive orders from her office.
“It’s the only place we found in our law that references D.C. as a sanctuary...it is a pretty specific measure that’s related to how we work with ICE. It is a misnomer for the city. We are happy to work with the council to make sure that provisions that are reflected there, are raised up, but we don’t think having it in statute is the way to go,” she said. “There’s some question whether it should be in the law at all, and if so, it should pinpoint the issues it addresses directly.”
But Bowser’s proposed repeal – four lines of text buried deep in a 300-page budget bill – also reflects her changing posture during the second Trump administration as she tries to stave off more aggressive interference in city affairs by Republicans. It could also increase criticisms that she is compromising too much of the city’s practices and values in her
technology. He explained that many existing apprenticeship programs for technology careers fail to provide a livable wage— or, any wage at all—despite requiring a burdensome time commitment.
A native of Ward 8, Hawkins lives just across the street from the UDC’s new tech hub. The predominantly African-American community has faced decades of disinvestment and economic inequality, which has given way to high poverty rates, unemployment and crime.
Hawkins said the apprenticeship presents his neighbors with an avenue to defy the harmful narratives that have long overshadowed Ward 8.
“This is going to allow us to show people that there is talent in Ward 8. There is talent in these places where people think it’s a scary place to live,” said Hawkins. “It inspires people to get up and do something.”
Amani Walker, another cohort member, believes the new tech hub can also expose marginalized communities to careers they may have never considered. The 21-yearold, a resident of Ward 6, began pursuing a career in technology last fall.
Though she, like Hawkins, has a foundational information technology credential, she has lacked the necessary work experience to secure other internships and jobs.
“Being able to experience this has made me
attempt to stay on the good side of the Trump administration.
Bowser already quietly removed a city website that touted its support for immigrants months ago, a symbolic step that mirrored her decision to deconstruct Black Lives Matter Plaza, and stopped using the phrase “sanctuary city.” But that didn’t stop Republicans from coming after the District: A House committee advanced a bill that would specifically target D.C.’s sanctuary law for repeal in March, and a similar bill is pending in the Senate.
“Unconscionable that our nation’s capital would facilitate illegality and thwart federal law enforcement efforts,” said Senator Bill Hagerty (R-Tennessee) in a statement in late April. “President Trump’s efforts to enforce immigration laws should not be undermined by local leadership anywhere in the United States, let alone Washington, D.C.
Trump officials have also questioned whether D.C.’s sanctuary status should prompt Republicans to repeal the city’s ability to govern itself, and in the month of May, House Republicans also took aim at the city law that allows non-citizens to vote in local elections.
Still, Bowser has said that she was “disturbed” by ICE enforcement actions at local restaurants and in neighborhoods. (Federal officials say they arrested 189 people, largely for immigration violations.) And in a letter sent to federal officials in April, she defended the city’s practice of not cooperating on immigration enforcement.
“MPD has a critical job to make the District of Columbia safe for everyone,” she wrote. “MPD’s policy for more than two decades has been to not ask individuals about immigration status. As law enforcement, MPD knows that when there are groups who hesitate to report crime to the police, they often become targets for serious crime. Allowing that to flourish makes everyone in the city less safe.”
Bowser’s proposed repeal of the city’s sanctuary law will now be considered by the D.C. Council as it reviews her proposed budget.
This article was originally published by The 51st.
“This partnership is much more than a training program— it is a launchpad for District residents seeking meaningful, lasting careers in a high-demand field.”
realize that not only are my goals reasonable, they’re also attainable,” said Walker. “I just needed the right community and backing to help me get myself to the potential that I knew I could achieve. Programs like this are very important in underserved communities because you can go down the wrong path very quickly if you don’t know you have other options.”
The Cybersecurity Tech Hub at UDC is the product of a collaboration between Accenture, a global professional services company that specializes in information technology services, and PeopleShores, a technology enterprise that connects young adults with digital skills and employment.
At the start of the
apprenticeship, participants spend 15 weeks learning cybersecurity fundamentals. They then have nine months of on-the job training with Accenture teams. Upon completion of the program, cohort members may also have the opportunity to gain a full-time position with Accenture.
“This partnership is much more than a training program— it is a launchpad for District residents seeking meaningful, lasting careers in a high-demand field,” said Maurice D. Edington, president of UDC, in a statement. “It also reflects UDC’s strategic vision of becoming the District’s leading workforce and economic mobility engine, and we are extremely proud to work with Accenture and PeopleShores to bring this vision to life.”
Photo courtesy of the Prince George’s County Council Council Chair Edward P. Burroughs III (PG-D-08) emphasizes community-centered leadership after the passage of Prince George’s County’s $5.8 billion FY 2026 budget.
BALTIMORE-AREA
Maryland Gov. Wes Moore tells SC Dems to become the party of ‘yes’ and ‘now’
By D. Kevin McNeir
Special to the AFRO
Maryland Gov. Wes
Moore (D) took his call to action to South Carolina on May 30. Moore held nothing back in his remarks to members of the South Carolina Democratic Party (SCDP) as the featured speaker during the group’s annual Blue Palmetto Dinner on May 30. The dinner, held at the South Carolina State Fairgrounds in Columbia, served as the beginning of the SCDP’s 2025 Dem Weekend and ended on May 31, with the state convention.
Minnesota Gov. Tim Walz (D) served as the keynote speaker on May 31.
The weekend’s events, according to party officials, marks efforts to generate momentum as the 2026 election cycle approaches and possibly, the presidential race in 2028.
Both governors were on hand to enjoy Dem Weekend and South Carolina’s leading Black statesman Rep. Jim Clyburn’s highly touted World Famous Annual Fish Fry. Clyburn first started the event in 1992, the year voters first elected to the 6th Congressional District, as a thank you to the voters who couldn’t afford the Democratic Party’s high-dollar fundraisers.
Over time, the “World Famous Annual Fish Fry” — which includes free food and drinks — has become a must-attend event for Democrats seeking local, statewide and national office.
Besides “firing up” fish, Moore, Walz and Clyburn aimed to fire up their fellow Democrats.
Proposed cuts to government safety nets like Medicaid and billionaire
Brittany Jakubowski recognized as 2025 Baltimore County Teacher of the Year
By Tashi McQueen AFRO Staff Writer tmcqueen@afro.com
Brittany Jakubowski, a secondary English Language Arts (ELA) teacher and department chair at Catonsville Middle School, was recently recognized as 2025-2026 Teacher of the Year for Baltimore County Public Schools (BCPS).
“I genuinely enjoy doing my job… it’s nice to know that I’m doing it well,” said Jakubowski in response to the teacher of the year recognition.
A Perry Hall High School and Towson University graduate, Jakubowksi has been teaching in BCPS for 11 years, fulfilling a dream she’s had since childhood.
“When I was growing up, I always knew I wanted to be a teacher…I told my mom that when I was about six years old,” said Jakubowski, 36.
She said upon graduating college she was adamant about teaching high schoolers, but an internship swayed her in another direction.
“They get my jokes, they’re willing to try new things, take risks,” she said about middle schoolers. “I felt like I was going to be the type of person that could push them out of their comfort zone and build their confidence.”
Jakubowski shared how she prioritizes creating a warm and engaging atmosphere in her classroom.
“I’m always in a good mood
Port of Baltimore could see tariff impacts in June
By Daranee Balachandar
It is still too early to gauge the impacts of President Donald Trump’s widespread tariffs on imported goods on the Port of Baltimore, despite other ports experiencing changes.
“We expect to see impacts with our container business, especially from China,” Richard Scher, director of communications for the Port Baltimore, said in a statement to Capital News Service (CNS).
Scher said the impacts “will likely” show up for the Port of Baltimore in June.
Tinglong Dai, operations management and business analytics professor at the Johns Hopkins Carey Business School, told CNS that larger ports, like the Port of Los Angeles and the neighboring Port of Long Beach, would experience a much more significant drop in imports compared to the Port of Baltimore because the general volume of imports at the southern California ports is much greater.
Los Angeles and Long Beach also are geographically closer to China, the second-largest source of U.S. imports, and other Asian and South Pacific nations.
On May 12, the United States and China reached an agreement to
Shipping containers stack up at the Port of Baltimore, as officials await the delayed impact of the United States’ President’s tariffs on Chinese goods.
lower tariffs. Under the new deal, the United States will reduce tariffs on goods imported from China from 145 percent to 30 percent, while China will lower its tariffs on American imports from 125 percent to 10 percent.
“It is important to note that even with this China agreement, tariffs are much higher overall than they were at the beginning of the year,”
John Murphy, senior vice president at the U.S. Chamber of Commerce,
said in a statement issued after the U.S.-China trade talks. Businesses, including small enterprises, are trying to manage with the disruptions and growing costs, Murphy added.
“We continue to urge the Trump Administration to prioritize tariff relief for businesses and families, and to address foreign trade barriers as it negotiates with other countries,” Murphy said.
“Ultimately, the impact of tariffs on the Port of Baltimore and all
ports will depend on the length of time that the tariffs are implemented in addition to the decisions of shippers to send their products to the U.S.,” Scher said.
Last year, the Port of Baltimore was the second-biggest importer of automobiles in the United States. It lost its first place due to the Francis Scott Key Bridge collapse, which paused operations at the port from March to July last year.
Baltimore’s port is one of the only ports in the country to have equipment and facilities to handle and store Roll-On/Roll-Off cargo like fully assembled cars, motorcycles and trucks.
The Port of Baltimore also receives other imports like nuclear reactors, boilers, machinery, aluminum, iron and steel, according to U.S. Census data.
Some auto manufacturing customers that ship into U.S. ports, including Baltimore, are holding their vehicles at the port of entry, while others are adding import fees or absorbing the tariffs, Scher said.
Rep. Johnny Olszewski, D-Maryland, told CNS the tariffs are another setback for the Port of Baltimore, which still is recovering from the bridge collapse.
“It’s challenge after challenge
after challenge, except this one is completely avoidable. There’s no reason for the president to need to propose these tariffs,” Olszewki said. “There’s been no good reason expressed to members of Congress or the American people about what the real purpose of a tariff is.”
The congressman said he has not received any complaints or concerns related to the tariffs from individual port workers.
The International Longshoremen’s Association, which represents Baltimore’s port workers, endorsed Trump in last year’s election. ILA President Harold Daggett in January credited Trump with helping the union obtain a new contract with stronger provisions against automation. He called the president “one of the best friends of working men and women in the United States.”
The ILA said it had no comment on the tariffs for now.
Dai said the tariffs would impact port workers and truck drivers in the long run.
The Port of Baltimore is an economic engine that would have a direct and indirect impact on all the sectors and workers supporting it, Dai said.
“It’s an entire ecosystem,” he said.
This article was originally published by Capital News Service.
AP Photo/Meg Kinnard
Maryland Gov. Wes Moore (left), speaks to reporters in Columbia, S.C. on May 30 at the South Carolina Democratic Party’s Dem Weekend 2025 as Rep. Jim Clyburn, D-S.C., looks on.
Courtesy photo
Brittany Jakubowski, a secondary English Language Arts (ELA) teacher and department chair at Catonsville Middle School, has been named the 2025 Teacher of the Year for Baltimore County Public Schools.
Elon Musk’s efforts to rapidly slash federal spending were among the topics the governors touched on May 30 during speeches at the fish fry, as well as at the Blue Palmetto Fundraising Dinner the same night.
“I taught school long enough to know it’s because they’re weak and they’re bullies, and when you stand up to them, they fade away,” said Walz, a former high school geography teacher.
Prior to Moore taking the podium, the Rev. Dr. Jennifer Bishop, pastor of Grace Christian Church in Columbia gave the invocation with words that foreshadowed Moore’s reflections on the urgency of the day.
“We are here to stir up the sleeping giant of democracy in a moment of destiny,” Rev. Bishop said. “We are the answered prayers of our ancestors. We follow the strategy of Harriet Tubman, the echo of John Lewis, the boldness of Fannie Lou Hamer and the footprint of Jim Clyburn.”
Moore delivered a message that inspired
straight from the get go,” she said. “Coffee kicks in at eight o’clock and we’re ready to roll. There’s lots of smiles, high fives and just asking kids about their day.”
She emphasized the value of truly connecting with students.
“Every day we talk, we write, we listen, we read… those are the four core parts of every one of our lessons,” she said. “We’re not here to do busy work. I try to make every conversation meaningful, so hopefully something will stick.”
“I want to make sure that in those hours that they’re here, they get everything that they need,” she added.
Jakubowski also makes sure to incorporate broader life lessons into her teaching, in order to build confidence and inform students on what it means to care about and be accepting of others.
Brianna Bull, a seventh and eighth grade Advancement Via Individual Determination (AVID) elective educator, shared her thoughts on Jakubowski’s new designation as teacher of the year. AVID is a nonprofit college readiness program offered at Catonsville Middle School.
“When I found out she was nominated for teacher of the year, I thought to myself no one is more deserving,” said Bull. “As teachers we pour our heart and soul into our craft and our students, and for Brittany, she takes it to another level.”
Nakiera Hopkins, a Spanish teacher at Catonsville Middle School, echoed those sentiments.
“She builds relationships with students that empowers them to want to learn,” said Hopkins. “She is also inspiring as a leader. She welcomes the voices of everyone and really makes Catonsville feel like a community. I can only hope to have as great of an impact on my students and colleagues as she does.”
One of Jakubowski’s proudest contributions is a diversity fair that she started in 2018.
“That fair started with one class of kids who did this culture project, and they wanted to show people,” she said. “Then the next year, the kids heard that the previous year’s kids did it and they wanted to do it too. This year we had over 300 people at our schoolwide diversity fair.”
Families brought dishes like jollof rice, matzah bread and biryani, while students showcased their native countries, languages, clothing and
the audience and ignited his fellow Democrats who hope to secure victory up and down the ballot in 2026.
“Tonight is more like a homecoming because my grandfather, who was driven by impatience, was born in Charleston,”
Moore said. “And I believe that in this moment, at this perilous time we’re in, with so much at stake for all those who care about the direction of our country, we must act with the fierce urgency of now that Dr. King preached and that my grandfather fought for until the day he died.
“This is a moment for us to say together, in one voice: Gone are the days when Democrats are the party of ‘no’ and ‘slow.’ We must be the party of ‘yes’ and ‘now.’
Gone are the days when we are the party of bureaucracy, multi-year studies, panels, and college debate club rules. We must be the party of action. Because right now, the people of this country are calling on us to act.”
Moore continued saying, “the baton is in our hands.”
“We are not going to drop it. We are going to run through the tape, and we
“Gone are the days when Democrats are the party of ‘no’ and ‘slow.’ We must be the party of ‘yes’ and ‘now.’”
are going to win because we understand what’s at stake,” he said. “Send a message the entire country is going to hear. This is our time. This is our moment. We will not shirk, we will not flinch, we will not blink. We will win, just as those who came before us did.”
As the first African American elected governor in Maryland, Moore has earned a reputation as one who demonstrates bold, compassionate and progressive leadership. Widespread speculation among Democrats suggests that he would be a formidable candidate for president in 2028. However, he continues to maintain that he has no plans to run for president or to be considered as a contender for the office of vice president.
Former vice presidential candidate Gov. Walz shared brief comments to the several
hundred Democrats that echoed Moore’s. “We can save ourselves. We can get out there. We can make a difference,” Walz said. “We need to change the attitude, compete in every district, compete for every school board seat, and come out to this damn fish fry with the attitude: ‘we’re going to fill up on some fish, and then we are going to beat the hell out of these dictators.’”
In his references to the current president, Moore made sure his message was clear. “I want to be clear: We can – and we must – condemn Donald Trump’s reckless actions,” he said. “But we would also be foolish not to learn from his impatience. Now is the time for us to be impatient too. Let’s not just talk about an alternative. Let’s not just study an alternative. Let’s deliver an alternative.”
“I genuinely enjoy doing my job…it’s nice to know that I’m doing it well.”
dances.
“The Quinceañera dresses were out, the hijabs were out…it was beautiful,” said Jakubowski.
Jakubowski views diversity and representation as a crucial aspect of effective education.
“I did not have a lot of teachers that looked like me when I went to school,” she said. “I think that for many of our students, that’s still the case.”
According to the Maryland State Board of Education, Maryland is gradually diversifying its teacher workforce but still remains predominately White. In the 20202021 school year 71 percent
of Maryland teachers were White and 18.9 percent of them were Black. In the 20232024 school year there were 68.1 percent White teachers and 20.4 percent Black educators in Maryland’s school systems.
Jakubowksi encourages passionate teachers to join her in educating the next generation.
“After navigating the impact of COVID-19 on education— especially in a middle school setting where students are just trying to figure out which way is up—these kids simply need direction,” said Jakubowski. “We need people who are willing to captain the ship.”
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Courtesy photo
While Maryland’s teacher workforce is slowly becoming more diverse, White educators still make up the overwhelming majority, according to data by the Maryland State Board of Education from 2019-2020 through 2023-2024.
Courtesy photo
Brittany Jakubowski at her school’s diversity fair, an event she started in 2018 to help students showcase and celebrate each other’s cultural heritage.
COMMENTARY
What is artificial intelligence doing to our environment?
What?!?! I exclaim in amazement.
ChatGPT isn’t an all knowing omnipotent being that can just reach into the internet at will? No. Well, yes– on the internet part– no, on the “omnipotent” bit. Artificial intelligence (AI), like ChatGPT is not an intangible being, it’s a computer; stored in buildings called data centers worldwide. Every second these centers process AI commands, streaming services and water.
Wait–what? Yes, water.
These AI servers and computer data centers are guzzling water, but what do they need it for? At these data centers, high-speed data exchange processing and algorithms are run every minute.
All of this processing causes immense heat to be released. And just like your clunky 2010 MacBook, these data center computers do not like to be hot. But unlike your MacBook, these computers require more than just a noisy fan. In addition to fans, data centers use water to cool the surrounding air through an evaporating cooling system.
Alright, so the computers need a little swig of water. What’s the big issue? Data centers like the ones used for Google services consume an average of 550,000 gallons of water per day. That’s the big issue.
By 2027, annual global AI water consumption is predicted to reach between 4.2 billion to 6.6 billion cubic meters. That’s the big issue. As of right now, there are around
25 countries that are suffering from water scarcity. The amount of water used in a data center per day could be consumed by around 4,200 people. Dehydrated families wondering when their next drink will be while in the next town over hundreds of thousands of gallons of water are being consumed by computers. And you guessed it– that’s the big issue.
Not only are these data centers water-hoggers, but they are massive. That’s not a valid complaint, sure, an office building or large apartment could be comparable in size. But the issue is the size-to-power ratio. The boom in AI usage has these power-hungry data centers devouring megawatts in the 50 to 100 range. So while comparable in size to a large office building these centers are sucking up enough wattage to power somewhere between 25,000 to 50,000 homes.
I’m not sure about you, but that sounds like a valid complaint to me.
Oh, and did I mention they’re loud? The constant cooling and computational happening in these facilities can produce around 96 dB. This is comparable to that of the sound emitted from a city.
For the people living nearby, this could merely be an annoyance, not unlike a loud neighbor who blasts music 24/7…their buzzing, clicking, fan-blowing music. An annoyance really.
However, for those working in the facilities, prolonged exposure
Shaping the future: Black leadership in tech regulation
the educational experiences of Black students.
In today’s digital age, tech regulation is a frontline issue of equity and innovation. For Black EdTech leaders worldwide, the question is clear: will we shape the digital future, or be shaped by it?
According to National University, “As its name suggests, EdTech occupies the intersection where teaching and technology meet.”
Globally, in countries like Nigeria, Kenya, South Africa and Brazil, Black technologists are building groundbreaking educational technologies (EdTech) that expand access, preserve cultural heritage and unlock economic opportunity. Yet, despite these achievements, they often operate in policy vacuums or hostile regulatory environments that stifle creativity, limit funding, and expose intellectual property to exploitation.
In the United States, about 2 percent of EdTech company leaders and roughly 5 percent of developers identify as Black. Despite this underrepresentation, Black technologists still push for culturally responsive products that meet the needs of Black learners. From early literacy platforms rooted in African American storytelling traditions to modern digital educational tools embedded with Black culture in mind, these innovations have profoundly shaped
If we are serious about creating an inclusive digital future, Black EdTech leaders must not only innovate, but also organize to shape the policies that govern innovation.
Building enabling regulatory environments
Black EdTech voices must be intentionally included in policy making spaces shaping data governance, platform accountability, funding and IP protections. Enabling environments require governments to remove structural barriers, expand seed funding, invest in infrastructure, and ensure Black technologists can speak out without fear of retaliation or erasure.
Globally, Black technologists, like Henri Nyakarundi and Timnit Gebru, advocate for inclusive policies that lower bureaucratic hurdles, incentivize inclusive innovation hubs, and enforce protections for Blackowned digital businesses. However, industry and policy do not reflect the realities of Black technologists, choosing to only focus on the priorities of legacy tech giants.
to this level of sound could cause hearing loss.
Now, I’ve gone on and on about these data centers and you may be thinking: there’s no way they were built solely for AI. And you’d be right. These facilities have been around for some time now, but what hasn’t been is AI like ChatGPT4 and ClaudeAI. With AI at most of the world’s fingertips, these data centers have been kicked into overdrive, processing significantly more data. The amount of energy that it takes to run and train these algorithms is much more intensive than what has traditionally been done at these centers. Think about it this way: The centers are like Texas…used to sunny temperatures and the occasional chill in the winter. Texas is not accustomed to heavy snowstorms. So, while Texas has had snowstorms before and can accommodate them, it’s not as prepared as a place like New York or Alaska. These data centers are being hit by snow storms, except they aren’t stopping or slowing down.
You could argue the “cons” are worth it because AI is saving lives in healthcare and advancing new technologies, but in reality, it’s just making mediocre upgrades and “streamlining processes.”
For many individuals, AI isn’t out there saving lives– it’s proofreading essays or writing emails.
To avoid sounding like every
other environmental activist (which many will ultimately ignore–just look at the current state of our climate), I will not tell you to stop using AI. I will merely ask that you
In the U.S., Black technologists like Dr. Nicole Turner Lee, who leads the AI Equity Lab, and Kapor leaders Shana V. White and Dr. Alison Scott are influencing EdTech policy through research and advocacy that emphasize the need for AI and EdTech tools to reflect equity, cultural relevance, and the lived experiences of Black communities.
Globally, building enabling environments means amplifying Black voices in tech policy and embedding their leadership in shaping education and innovation. This requires bold, collective action—governments, industry, and civil society must co-create equitable digital policies with Black technologists.
Safeguarding Intellectual Property
Equally important is safeguarding Black intellectual property in the digital age. Too often, technological platforms mine Black culture for profit without respect, consent, or compensation. New frameworks for digital intellectual property rights must recognize traditional knowledge systems and protect digital content rooted not only in identity, but also ownership.
Globally, a growing number of Black EdTech entrepreneurs are developing culturally
responsive digital learning platforms — for example, apps and online courses that teach African languages like Yoruba, Wolof, or Twi. In the U.S., Black EdTech leaders and platforms are also rising. By using data and curated lesson plans, these digital platforms embed subjects like math, science, literacy, and art within culturally relevant contexts to better support the learning and engagement of Black students. However, several large tech companies have begun scrapping these publicly available materials — lesson plans, cultural stories, language datasets — to train AI language models and educational products, often without consent, attribution, or compensation to the original Black creators.
This exploitation robs Black technologists of ownership, revenue, and risks misrepresenting their work. Black EdTech leaders must push for IP frameworks that protect their languages, narratives, and
think about it.
Only 1.2 percent of Earth’s water can be used for drinking. What will you use it for today?
Hydration or a grammar check?
teaching systems as valuable global assets deserving recognition and fair compensation.
Critical Policy Considerations
To build inclusive digital ecosystems, Black technologists must push policymakers to prioritize:
• Access: Affordable internet, digital literacy, and device availability in marginalized communities.
• Funding: Investment in minority-led EdTech ventures. Protection: Stronger global standards for cultural intellectual property.
Ethical Data Use: Clear safeguards for privacy and algorithmic fairness. These aren’t optional. They’re essential to tech policies at every level that sustain and scale Black innovation.
A Call for Global
Collaboration
To shape a more equitable digital future, global Black
communities must strengthen cross-border collaboration. By uniting EdTech technologists, entrepreneurs, policymakers, educators, and advocates, we can share expertise, build joint platforms, and influence international tech policy. Too often, existing networks are siloed and exclude Black technologist perspectives. Strategic coalitions can elevate Black voices in global debates on AI ethics, digital access, and tech funding, ensuring Black leadership drives the development of ethical, inclusive, and sustainable tech from the start.
Conclusion
The future of tech regulation must be shaped by those committed to equity and inclusion. Black EdTech leaders are not just participants in this future, they are catalysts. Bold, collaborative, and unapologetic, their leadership is imperative to building a digital world that works for all.
Courtesy photo
McKenzie Green is a rising junior at Brown University, where she is working on a neuroscience and biochemistry degree. This week, she discusses the impact of artificial intelligence on the environment.
By Hussainatu Blake, JD, MA and Symone Campbell, PHD
Courtesy photo
Symone Campbell, Ph.D. is a responsible EdTech and artificial intelligence (AI) researcher at the Siegel Family Endowment and an adjunct professor of AI ethics at Howard University’s Center for Applied Data Science and Analytics. Her work explores the intersection of Black culture and technology.
Courtesy photo
Hussainatu Blake, JD, MA is CEO at ED2Tech and adjunct professor of global learning and tech at Middlebury Institute of International Studies at Monterey. She advises on digital innovation and integration, global education, workforce development and inclusive tech policy.
SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION ADMINISTRATION NO. 2025ADM000338 DONNA M. LEWIS AKA DONNA MARIE LEWIS Name of Decedent Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs
ter their appearance In this proceeding. Objections to such, appointment shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before DECEMBER 06, 2025.
of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: JUNE 06, 2025 Name of newspaper and/or periodical: Washington Law Reporter AFRO American Newspapers
TIA BROWN TYLER BROWN-CARR Personal Representative TRUE TEST COPY REGISTER OF WILLS 06/06, 06/13, 06/20/25
LEONNA D. BAYNE, whose address is, 117 PARKVIEW DRIVE, MERIDIANVILLE, AL 35759 was appointed Personal Representative of the estate of DONNA M. LEWIS AKA DONNA MARIE LEWIS who died on FEBRUARY 12, 2025 with a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance In this proceeding. Objections to such, appointment shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before NOVEMBER 30,
Name of Decedent
HORACE LEE BRADSHAW JR 1644 6TH STREET NW WASHINGTON DC, 20001 Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs ERIC BURLESS whose address are 10304 RICHMANOR PL, UPPER MARLBORO MD, 20772 was appointed Personal Representatives of the estate of NANCY ELLEN BURLESS who died on FEBRUARY 22, 2025 with a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance In this proceeding. Objections to such appointment shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before NOVEMBER 23, 2025. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before NOVEMBER 23, 2025, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: MAY 23, 2025 Name of newspaper and/or periodical: Washington Law Reporter AFRO American Newspapers
ERIC BURLESS Personal Representative TRUE TEST COPY REGISTER OF WILLS 05/23, 05/30, 06/06/25
SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION ADMINISTRATION NO. 2025ADM000483
WILBERT H. GRANDY, SR. AKA WILBERT GRANDY AKA
WILBERT H. GRANDY Name of Decedent Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs TIMOTHY QUINTIN GRANDY, whose address is, 115 WEBSTER STREET, NW; WASHINGTON, DC 20011 was appointed Personal Representative of the estate of WILBERT H. GRANDY SR. AKA WILBERT GRANDY AKA WILBERT H. GRANDY who died on AUGUST 15, 2024 with a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance In this proceeding. Objections to such, appointment shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before NOVEMBER 30, 2025. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before NOVEMBER 30, 2025 or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: MAY 30, 2025 Name of newspaper and/or periodical: Washington Law Reporter AFRO American Newspapers
TIMOTHY QUINTIN GRANDY Personal Representative TRUE TEST COPY REGISTER OF WILLS 05/30, 06/06, 06/13/25
SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION
ADMINISTRATION NO. 2025ADM000485 RENEE E. FLETCHER AKA
RENEE FLETCHER Name of Decedent Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs
PIERRE FLETCHER, whose address is, 7916 CRYDEN WAY FORESTVILLE, MD 20747 was appointed Personal Representative of the estate of RENEE E. FLETCHER AKA RENEE FLETCHER who died on JANUARY 03, 2025 without a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance In this proceeding. Objections to such, appointment shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before NOVEMBER 30, 2025. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before NOVEMBER 30, 2025 or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: MAY 30, 2025 Name of newspaper and/or periodical: Washington Law Reporter AFRO American Newspapers
PIERRE FLETCHER Personal Representative TRUE TEST COPY REGISTER OF WILLS 05/30, 06/06, 06/13/25
SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION ADMINISTRATION NO. 2025ADM000554 YOLANDA INEZ JOSEY-BAKER Name of Decedent NATALIE S. WALKER, ESQ. 1101 CONNECTICUT AVE., NW, SUITE 402 WASHINGTON, DC 20026 Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs BELINDA JOSEY AND LAWRENCE A. GUNTER, JR , whose addresses are, 4127 18TH ST., NE, WASH., DC 20018; 660 OGLETHORPE ST., NE, WASH., DC 20011 were appointed Personal Representative of the estate of YOLANDA INEZ JOSEY-BAKER who died on NOVEMBER 17, 2022 without a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance In this proceeding. Objections to such, appointment shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before DECEMBER 06, 2025. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before DECEMBER 06, 2025 or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this
SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION ADMINISTRATION NO. 2025ADM455 STANLEY DEWITT COLN Name of Decedent WILLIAM A. BLAND, ESQUIRE 80 M STREET SE #330 WASHINGTON, DC 20003 Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs
CITY OF BALTIMORE DEPARTMENT OF RECREATION AND PARKS NOTICE OF LETTING
Sealed Bids or Proposals, in duplicate addressed to the Board of Estimates of the Mayor and City Council of Baltimore and marked for BALTIMORE CITY NO. RP24809R Robert C. Marshall Field Renovation will be received at the Office of the Comptroller, Room 204 City Hall, Baltimore, Maryland until 11:00 A.M. July 16, 2025. Positively no bids will be received after 11:00 A.M. Bids will be publicly opened by the Board of Estimates in Room 215, City Hall at Noon. The proposed Contract Documents may be examined, without charge, at the Dept. of Rec & Parks at 2600 MadisonAve, Baltimore, Md. 21217 by appointment only on Mondays - Fridays, 8:30am – 4:00pm by emailing benitaj.randolph@ baltimorecity.gov as of June 6, 2025 and copies may be purchased for a non-refundable cost of $100.00. A SharePoint link to a PDF of the Construction Drawings will be provided to all prospective bidders. Conditions and requirements of the Bid are found in the bid package. All contractors bidding on this Contract must first be prequalified by the City of Baltimore Contractors Qualification Committee. Interested parties should call (410) 396-6883 or contact the Committee at 4 South Frederick Street, 4th Floor, Baltimore, Maryland 21202. If a bid is submitted by a joint venture (“JV”), then in that event, the document that established the JV shall be submitted with the bid for verification purposes. The Prequalification Category required for bidding on this project is G90132 Park Rehabilitation. Cost Qualification Range for this work shall be $2,800,000.00 to $3,400,000.00. A Mandatory “Pre-Bidding Information” session will be conducted in a HYBRID fashion, both in person and via Microsoft Teams at 10:30am EST on June 24, 2025. Email your contact information to Larissa.torres@baltimorecity.gov to receive an invite to the Microsoft Team (video conference meeting) no later than 9:00pm EST, June 23, 2025. Principle Items of work for this project are Demolition of existing retaining walls, stairs and walkways; tree removal; earthwork; storm water facilities; new athletic fields; landscaping; new concrete retaining walls, stairs and walkways; new water service and irrigation system, athletic field lighting. The MBE goal is 27% and WBE goal is 10%
APPROVED: M. Celeste Amato, Clerk, Board of Estimates
HOUSING AUTHORITY OF BALTIMORE CITY REQUEST FOR PROPOSALS
ENERGY MANAGEMENT CONTROL SYSTEM MAINTENANCE AND SUPPORT
RFP NUMBER: B-2043-25
The Housing Authority of Baltimore City (“HABC”) will issue a Request for Proposals (“RFP”) for interested and qualified firms to submit proposals to provide routine and emergency maintenance and support for its energy management and control systems (“EMCS”) at various HABC properties.
PROPOSALS WILL BE DUE no later than 2:00 p.m. Eastern Time on Friday, July 11, 2025
A non-mandatory pre-proposal conference will be held on Wednesday, June 25, 2025 at 10:00 a.m., which will be scheduled as a virtual meeting.
The RFP and all supporting documents may be examined and obtained on or after Monday, June 16, 2025, at the following location: Housing Authority of Baltimore City Division of Fiscal Operations, Procurement Department Attention: Mary Kate Gagliardi, Senior Buyer Tel: (410) 396-3105 mary.gagliardi@habc.org
Questions regarding the RFP should be directed in writing to the address and individual indicated above and must include the reference: HABC RFP Number B-2043-25.
Plant Enhanced Nutrient Removal Upgrade Project #2151SF Bid Number 25-14-C
The St. Mary’s County Metropolitan Commission is currently soliciting for bids on the St. Clements Shores Wastewater Treatment Plant Enhanced Nutrient Removal Upgrade project. The site on which the construction work is to be done is located at 21980 Rosebank Lane, Leonardtown Maryland 20650.
The work in general is for the upgrade and expansion of the existing St. Clements Shores Wastewater Treatment Plant to enhanced nutrient removal (ENR) for a capacity of 160,000 gallons per day (gpd) average daily flow (adf). Work includes, but is not limited to: an MBR headworks system; post-tensioned concrete bioreactor tank; RAS flow splitter; post-tensioned concrete post-anoxic and MBR tank; building to house permeate pumps, valving, electrical equipment, chemical equipment, laboratory, etc.; exterior chemical storage tanks; backpulse tank; spray field control valves; lagoon embankment repair; lagoon dredging; site access road; various site improvements; new generator at the existing control building; demolition of existing plant components necessary for the construction of the plant upgrades; and connection to existing facilities. Close coordination with wastewater plant personnel will be required for the duration of this project, especially for any activities related to any demolition or connections to existing facilities.
This project is fully funded by the Maryland Water Quality and Drinking Water Funding Programs; therefore Davis Bacon Act, MBE/WBE and American Iron and Steel requirements must be met. Bidders must perform and document their performance of all affirmative steps required by the Maryland Department of the Environment Minority and Women’s Business Enterprise program to be considered for the Contract. Bidders are encouraged to break down the work into smaller segments and tasks in order to increase minority subcontractor participation.
Documentation must be included in all bids and submitted on the date provided herein. Failure to provide documentation with the bid submittal packages could result in the bid being deemed non-responsive.
A Pre-Bid conference will be held on the date and time shown below at the Commission’s Administrative Office located at 23121 Camden Way, California, Maryland, 20619 to review the requirements outlined in the Bid Package. A site visit will follow immediately after the Pre-Bid conference.
All potential bidders are encouraged, but not required to attend. This will be the only opportunity for a site visit, unless otherwise warranted by the Contracting Officer (CO) or Contracting Officer’s Representative (COR).
One original and one copy of all bids must be submitted in a sealed envelope bearing the company name, legal address, the project title for which the bid is submitted and the date advertised for opening bids. Sealed bids must be addressed to Tanya Parker, Procurement Agent, and clearly marked “SEALED BID FOR ITB BID Number: 25-14-C, ST CLEMENTS SHORES WASTEWATER TREATMENT PLANT ENHANCED NUTRIENT REMOVAL UPGRADE, PROJECT #2151SF” and received at the Commission’s Administrative Office until the date and time shown below. At that time the bids will be publicly opened and read.
Samuel Cogen Sheriff of Baltimore City 100 N. Calvert Street Baltimore, MD 21202 1040 DEER RIDGE DRIVE UNIT 204
BALTIMORE, MARYLAND 21210
(SALE TO BE HELD ON THE FRONT STEPS OF THE CIRCUIT COURTHOUSE FOR BALTIMORE CITY-LOCATED AT 100 N. CALVERT STREET,BALTIMORE, MD 21202)
MONDAY, JUNE 30,2025 AT 10:00 AM By virtue of a Writ of Execution passed in the matter of Deer Ridge Terrace Condominium, Inc,Plaintiff/Judgment Creditor vs. Nicole N. Green, Defendant/Judgment Debtors, Case No. 01-01-0010332-2023, issued out of the District Court of Maryland for Baltimore City, the Sheriff will sell all of the Defendant’s RIGHT, TITLE, INTEREST AND ESTATE in the real property on the court house steps, as follows:
All that fee simple condominium unit and the improvements thereon situate and lying in Baltimore City, State of Maryland, being more fully described in the Deed dated 31st day of January 2022 and recorded among the Land Records of Baltimore City in Book No. 24272, Page 196. The improvements thereon being known as 1040 Deer Ridge Drive, Unit 204, Baltimore, MD 21210.
NOTE: The information contained herein has been obtained from sources deemed reliable and is believed to be accurate. However, no express or implied warranty is made or may be inferred from any such representation. Dimensions, square footage, and acreage contained herein are more or less. Prospective purchasers are encouraged to perform their own due diligence, in advance of the auction,regarding the permitted uses of the property. The property will be sold subject to prior liens and Deeds of Trust, if any.
TERMS OF SALE: A deposit of $5,000.00 in cash or certified funds will be required of the purchaser at the time and place of sale. The holder of the indebtedness, if a bidder at the sale, shall not be required to post a deposit. Balance to be paid in cash by Monday, July 7, 2025 by 12:00 PM (NOON) to the office of the Auctioneer at 912 E. 25th Street, Baltimore, MD 21218. If payment of the balance does not take place within the specified time, the deposit shall be forfeited and the property may be resold at the risk and expense of the defaulting purchaser. All expenses adjusted as of date of sale and assumed thereafter by the purchaser. The property will be sold in “AS-IS” condition, without express or implied warranty as to the nature and description of the improvements as contained herein; and subject to easements, agreements, restrictions, and covenants of records affecting same, if any. Purchaser shall be responsible for obtaining physical possession of the property and assumes the risk of loss or damage to the property from the date of sale forward. The purchaser waives and releases the Sheriff of Baltimore City, the holder of the indebtedness, the Auctioneers, and their respective successors and assigns from any and all claims the purchaser and/or its successors and assigns may now have or may have in the future relating to the condition of the property, including but not limited to the environmental condition thereof. Recordation costs, transfer taxes and all other costs incidental to the transfer of the property to be paid by the purchaser. Time shall be of the essence for the purchaser.
E.T. NEWELL & CO., INC
912 E. 25th STREET
BALTIMORE, MD 21218
6/6, 6/13, 6/27/25
Washington Classified Continued from B7
