To the POINT DN
Message from the Associate Editor
Joy Reid is all of us
Joy-Ann Reid, the beloved host of MSNBC’s “The ReidOut,” was let go by that network, and her show canceled. But make no mistake; Reid wasn’t the only one who was canceled. All of Black World was shown the door. See, Reid was that rare cable news host who reported on the news as if she was having a conversation with her girlfriends and homies at the spot. She spoke in a language that was familiar to us all, because she was saying on TV what we were saying in our homes and on our phones. And not only that. Unlike other shows on MSNBC, CNN, Fox, etc., Reid and her crew of producers chose guests that represented the wide, broad and deep diversity of this nation. In other words, Reid literally had all of us on her show as guests, speaking our brilliant, diverse minds on issues. She refused to fit into that confining, restrictive box of cookie-cutter whitebread reporter. Reid was always her full, authentic self—as we’d all like to be. And for that, she was canceled (and all of us with her) by folk who colonize our “rhythm” and cause us the “blues.” Here’s an idea: let’s support ourselves by going all in on supporting Black-owned media where we have the freedom to be who we really are.
Banana in the tailpipe
our Black minds makes us think this dude who lives for getting over on people, is suddenly going to deliver on his word? Oh yeah, and any potential funding for these wishful stimi-checks will come from the hundreds of thousands of essential workers Trump and President Musk fired, and the funding they cut from Title 1 schools, Headstart, SNAP, medical research, HBCU scholarships, and other things essential to children, single parents, seniors, the disabled, and more. Trump and crew are banking on Black people being as stupid and ignorant as they believe us to be.
White tears
Like Eddie Murphy warned in his movie “Beverly Hills Cop,” we shouldn’t “fall for the banana in the tailpipe.” In other words, don’t be fooled by foolishness. But that’s exactly what’s happening right now. Trump offered federal workers the opportunity to quit their jobs now with the promise of getting paid (for not working) all the way through September. But hundreds who took that banana in their tailpipe and quit found out 1) they’re not getting paid, 2) they can’t get their jobs back and 3) they’ve lost their retirement benefits. Yet, there are still members of Black World who believe anything this “Grifter-in-Chief” says. Trump is now promising $5,000 DOGE “stimi-checks” to be paid out “sometime” in 2026.. even though Trump has for years bragged that his number one business strategy is promising to pay folk, then refusing to pay them. What in
One of the biggest trending topics on all social media platforms is the thousands of posts being shared by white and off-white Donald Trump supporters who are now regretting their November votes. Why the regret? Because they’re finding out that all those cruel and unusual Project 2025 campaign promises Trump made loud and clear for over a year are now being enacted. And they’re not just destroying the lives and livelihoods of Black and Brown people like they thought and voted for. Trump’s promises (now policies) are destroying the very foundations of white life. They’re finding out that it wasn’t superior white intelligence or work ethic or morals that allowed them to thrive. Rather, it was government-subsidized white privilege in the form of all those government programs and policies they were told only went to undeserving, lazy Black people. So, now that their Title 1 jobs are no more, and the subsidies that financed their farms are gone, and the funding for their parent’s healthcare workers is being redirected to gazillionaires, they’re crying a river of white tears. Let me share all the words of empathy I have for those who voted against Black people: boo-hoo.
On the web
• Are social media influencers experts or not?
• Terrance’s Take: Now is not the time for a new Texans’ stadium.
• We need our elders as much as they need us.
When Joy Reid and her full, authentic Blackness was canceled by MSNBC, we were canceled with her. Credit: Getty Images.
Aswad Walker
News DN
Aldine ISD closes schools amidst enrollment declines
Defender News Service
Aldine ISD trustees have voted to close six schools as the district grapples with declining student enrollment, low birth rates, and a lack of affordable housing growth in the area. The decision, made during a recent board meeting, adds to a growing list of school closures in the district.
The six campuses affected are De Santiago and Stovall primary schools, along with Oleson, Smith, Raymond, and Eckert elementary schools. These closures will displace approximately 2,800 students.
ENROLLMENT DECLINE, BUDGET STRUGGLES
Over the past decade, Aldine ISD has seen a dramatic drop in student enrollment, falling 20% from its peak of 70,000 students in 2014 to 56,419 students today. District officials warn that the decline is expected to continue, with another 9,000 students projected to leave by 2034.
NEWSBRIEFS
With fewer students comes less funding, and Aldine ISD is now facing a $100 million budget deficit. Trustees said the closures were necessary to ensure financial stability and maintain quality education across the district.
“Everyone on this board has agonized during the discussions on this matter,” said Trustee Randy Bates Jr. “But that doesn’t stop us from having the responsibility to be stewards of taxpayer monies that are given to us.”
Bates noted that all displaced students would be transferred to schools with better facilities, higher academic performance, or both—a key factor in his decision to support the closures.
MINIMAL COMMUNITY PUSHBACK
Despite the sweeping changes, there was little pushback from the community. However, Trustee Viola Garcia voted against all but one closure, showing some internal disagreement over the decision.
District officials emphasized that the
closures were not sudden but rather the result of a long-term decline in student numbers.
Ashley Brown, Aldine ISD’s communications officer, pointed out that some of the affected schools, such as De Santiago and Stovall, were part of a 12-campus early childhood network launched in 2018. However, with fewer young families moving into the area, maintaining these facilities became unsustainable.
In a statement, the district reaffirmed its commitment to students.
“Aldine ISD is committed to its vision of providing a rigorous and enriching educational experience that prepares every student for success in college, career, and life,” the statement read. “The optimization process helps us make the best decisions to maximize our facilities, employees, and resources to meet our students’ needs.”
The six schools now slated for closure follow three other shutdowns that occurred in 2024: Conley Elementary, Sammons Elementary, and Gray Elementary. In total, Aldine ISD has now
Apple facility creates thousands of Houston jobs
Apple is investing in Houston with a new 250,000-squarefoot manufacturing facility set to open in 2026 as part of a larger $500 billion U.S. expansion. The facility will produce servers for Apple Intelligence, the AI system powering features like photo clean-up tools and writing assistance on iPhones, iPads, and Macs. Apple says the energy-efficient servers will also support its Private Cloud Compute system for secure AI processing. Manufacturing partners will begin production later this year, creating thousands of jobs. The tech giant is also expanding data centers across multiple states and investing $5 billion into an advanced manufacturing fund.
Fort Bend homebuyers offered assistance
The Fort Bend County Housing Finance Corporation is launching a down-payment assistance program to help 60 eligible homebuyers. Households earning 120% or less of the area’s median income can receive $5,000 toward a home
closed nine campuses in just two years.
A BIGGER PICTURE: DECLINING ENROLLMENT ACROSS TEXAS
Aldine ISD is not alone in its struggles. Several Texas school districts have reported declining enrollment due to factors like rising housing costs, shifting demographics, and reduced birth rates. With state education funding tied directly to student enrollment, many districts are being forced to consolidate campuses and cut costs.
For Aldine, the hope is that these difficult decisions will help the district stabilize its budget and continue offering high-quality education in its remaining schools.
“We know these closures are difficult for students, families, and staff,” said Bates. “But we must make choices that ensure the future of our district.”
The district has yet to announce final transition plans for affected students but says updates will be provided in the coming months.
purchase. The funds, which must be repaid upon resale, refinancing, or transfer, will be awarded on a first-come, first-served basis starting in March. The program is funded by fees from developers working with the county to build multifamily housing. For more information, homebuyers can have their lenders contact Sonia Aldrett at 713-383-7273 or Sonia@CovenantCapital.org.
TxDOT warns of toll scam
Texas drivers are being warned about scam text messages claiming they owe a toll balance. The Texas Department of Transportation (TxDOT) says these messages are a form of phishing, known as “smishing,” designed to steal personal information. While TxTag does send official texts, it never issues final payment reminders via text. Customers can verify their notification preferences by logging into their TxTag account or calling 1-888-468-9824. If you receive a suspicious message, report it to the FBI’s Internet Crime Complaint Center at www.ic3.gov.
Aldine board members voted to close six more schools. Credit: Tannistha Sinha
By ReShonda Tate
For decades, the federal government has been a pillar of economic security for Black workers, providing steady employment, benefits, and opportunities often denied in the private sector. But sweeping job cuts under the Trump administration, spearheaded by Elon Musk’s Department of Government Efficiency, are rapidly dismantling this pathway to the middle class.
“The federal workforce was a means to help build the Black middle class. It hired Black Americans at a higher rate than private employers,” said Sheria Smith, president of the American Federation of Government Employees (AFGE) Local 252, which represents Education Department employees.
Recent mass layoffs, buyouts, and firings are disproportionately affecting Black employees across multiple federal agencies. At least 75,000 government employees have accepted buyout offers, with thousands more terminated in recent weeks. Many were either recent hires or dismissed for alleged subpar performance.
The Department of Education, a prime target for closure under Trump’s agenda, has seen significant layoffs. Smith noted that 74 workers at the department had been let
Protesters gather outside of the Federal Building headquarters of the U.S. Office of Personnel Management on February 03, 2025 in Washington, DC.
go—60 of them Black. At the Department of Health and Human Services, where 1,300 new hires were cut, 20% of the workforce was Black. The Department of Veterans Affairs, which recently laid off 1,000 employees, saw 24% of its Black staff displaced.
These statistics illustrate just how vital federal employment has been for Black economic mobility, said Marcus Casey, a fellow at
the Brookings Institution’s Economic Studies program.
“Whether it was from the post office, through direct growth of federal agencies, through the military—the government fought against the headwinds associated with the private sector,” Casey said. “The federal government has been essential to the building of the Black middle class.”
“MORALE IS SO LOW”
Among those affected is a worker at the VA in Houston, who spoke anonymously for fear of retaliation. He described a tense atmosphere, where employees are living in fear of sudden termination.
“Morale is so low,” he said. “People who should be there are gone. Everyone is nervous about the next shoe dropping.”
He had planned to retire after 20 or 25 years of service but now doubts he will make it. “Every indicator is that my head will be chopped off sooner or later. How can anyone be productive with that hanging over you?”
UNDOING DEI TO CUT THE FEDERAL WORKFORCE
Trump’s changes started with dismantling Diversity, Equity, and Inclusion (DEI) initiatives in federal hiring, framing them as a “destructive ideology.” These cuts extend beyond DEI-focused jobs, disproportionately affecting Black employees across departments.
“A lot of Black people not only benefited from what they call DEI now, but the original affirmative action programs, and the veteran preferences,” Casey said. “That combination helped a lot of people get a foothold in the civil service.”
MSNBC condemned over Joy Reid firing Federal cuts threaten Black middle class
NNPA/Defender News Service
MSNBC has parted ways with Joy Reid, marking the departure of another prominent Black woman from the network. Reid joins Rashida Jones, the first Black woman to head a major cable news network, along with Melissa Harris-Perry and Tiffany Cross. All four women brought critical, unapologetic perspectives on race, politics, and power—voices that many believe are being systematically eliminated.
Bobby Henry, chairman of the National Newspaper Publishers Association (NNPA), called Reid’s removal unacceptable and urged immediate action.
“As Chairman of the National Newspaper Publishers Association (NNPA), I stand in unwavering solidarity with Joy Reid and the impactful legacy of The ReidOut,” Henry said. “Joy’s voice has been a beacon of truth, justice, and empowerment for our community, and now is the time for us to show up for her. I urge you to join us—together, we will lift our voices, strategize, and continue to support those who champion our stories. Our collective strength is our greatest asset—let’s stand united for Joy and for the future of Black journalism. The Black Press of America and Black-owned media is needed now just as we were almost 200 years ago.”
Reid’s departure has drawn immediate criticism from viewers, journalists, and activists. Kevin Simmons, a supporter of The ReidOut, wrote on X, formerly known as Twitter, “The racists are rejoicing” after MSNBC announced the show’s cancellation. “The ReidOut had a great run. Joy will be okay. Crazy this announcement comes after she just won two NAACP awards last night.”
Justice Correspondent Elie Mystal called Reid irreplaceable.
“I owe the television part of my career to Joy Reid, as do so many other Black voices y’all never would have heard of if not for her,” Mystal wrote. “And that’s why she’s gone. They can treat Black folks as interchangeable, but everybody Black knows that Joy was indispensable.”
And its that recognition of Reid’s valued position in the hearts of Black America that moved the powerful advocacy group Win With Black Women to organize an emergency call for concerned Black people to gather virtually to strategize ways to best support Reid and to move forward.
“Tonight, we are coming together as a community,” read the call-to-action sent out by Win With Black Women about their Feb. 23 online gathering hosted in partnership with Win With Black Men. “The ReidOut is more than a show—Joy’s voice has been a powerful force in our community, always speaking truth and now is the time to show up for her.”
Jotaka Eaddy and Khalil Thompson facilitated the call, which was joined by special guests Reid and Angela Rye, who received similar (mis)treatment by CNN.
One strategy that was arrived at was for Reid supporters to watch her last episode’s first 30 minutes, then turn MSNBC off—with many pledging to turn off that station for good.
Many have pointed out that while MSNBC cuts ties with Reid, the network keeps shows like Morning Joe, whose hosts Joe Scarborough and Mika Brzezinski reportedly visited Donald Trump at Mar-a-Lago after his 2016 victory. The decision to retain programming aligned with political power while eliminating Black voices critical of that power is being viewed as deliberate.
MSNBC’s move comes as Trump continues targeting the press. He has filed a lawsuit against 60 Minutes, claiming the program manipulated an interview with Vice President Kamala Harris.
Trump also ordered federal agencies to cancel subscriptions to major outlets, including The New York Times, Politico, and Reuters, cutting public employees off from independent news sources.
He has praised Fox News as his administration’s “official” media outlet, further tightening control over the information pipeline.
Trump has declared that only the president can decide what is lawful—a statement more in line with authoritarianism than constitutional democracy.
Henry, the NNPA chairman, said the Black community must remain vigilant.
“Our collective strength is our greatest asset,” he said. “Let’s stand united for Joy and for the future of Black journalism.”
Joy Reid
Getty Images
News DN Fifth Ward Community Redevelopment Corp rebuilds
By Aswad Walker
It’s an all-too-familiar script: A historic Black neighborhood is abandoned by the majority of its younger residents, leaving the community to either be gentrified or petrified (encrusted into a near-lifeless shell of its former self).
But Houston’s Fifth Ward has had an institution since 1989, fighting to ensure that such a fate does not befall that historic community.
In fact, the Fifth Ward Community Redevelopment Corporation (Fifth Ward CDC) has been busy growing the neighborhood into a bustling destination for young families, businesses and organizations of all kinds.
“The Fifth Ward CDC is a 35-year-old organization that focuses on the revitalization and comprehensive redevelopment of Houston’s Historic Fifth Ward,” said the organization’s president and CEO Kathy Flanagan-Payton.
Located just northeast of downtown Houston, the Fifth Ward CDC operates with a laser focus on areas that can enhance the quality of life for current and future family and business residents.
AREAS OF FOCUS
“We operate and perform what we call lines of businesses with the primary one being real estate development, where we offer affordable housing opportunities, both for sale and rental opportunities, as well as commercial development. We also have homeownership promotion and preservation,” said Flanagan-Payton.
“We educate consumers on the importance of protecting their credit, understanding their budget, managing their financing and all the things that it would take for them to afford housing here in Houston and Fifth Ward,” shared Flanagan-Payton, whose organization wants to make sure they don’t over commit Fifth Ward families and create housing burdens for them.
The Fifth Ward CDC impacts its community and the city in other ways, including promoting the arts.
“We are Houston’s first African American cultural arts district that spans down the Lyons Avenue corridor. So, we promote arts health through the management of the Deluxe Theater, but we also bring programming to the community that is in multiple forms and multiple genres,” said Flanagan-Payton.
The Fifth Ward CDC also focuses on economic development. It founded the Fifth Ward Business Chamber and is currently developing a business and technology facility.
THIS IS PERSONAL
If it sounds like the “redevelopment” of Fifth Ward is personal to Flanagan-Payton, that’s because it is. She was born in Fifth Ward’s St. Elizabeth Hospital and has been a member of the neighborhood’s anchor institution, Pleasant Hill Baptist Church, her entire life.
Denise Morales, the Fifth Ward CDC’s outreach coordinator, is excited about the entity’s ability to meet serious community needs.
KEEPING LEGACY ALIVE
Because
my family grew up here, I wanted to be able to demonstrate to others that we didn’t have to leave the community to have impact.
“Because my family grew up here, I wanted to be able to demonstrate to others that we didn’t have to leave the community to have impact. So, I am ecstatic that today I can sit as the CEO and proudly boast that we own the St. Elizabeth Hospital and have repurposed that facility into mixed-income housing for the residents of the City of Houston.”
“Some of the households can’t afford food, can’t afford clothing, much less internet access,” said Morales. “We decided to provide different central hubs around Fifth Ward that would expand internet service for them to freely get connected to the internet.”
But Flanagan-Payton is not alone in advocating for Fifth Ward and her organization.
That effort allows residents of three area apartment complexes to benefit from the technology programs installed by the Fifth Ward CRC through a partnership with Internet Society and Truist Bank.
Fifth Ward has a long line of history-makers in politics and the arts. Many called it the “entertainment headquarters of the South.”
The Fifth Ward CDC keeps this legacy alive through events at the Deluxe Theater and the organization’s many community-facing programs and activities, like the annual Lyons Avenue Renaissance Festival on April 12.
“We are actively engaged in community building and engagement, to make sure that the programs and opportunities that we offer can respond as best they can to the needs of the community,” added Flanagan-Payton.
Denise Morales
Kathy Flanagan-Payton
The Deluxe Theater. Credit: The Deluxe Theater.
Fifth Ward CDC works to revitalize Houston’s historic neighborhood through housing development, arts and community programs. Credit: YouTube.
By Laura Onyeneho
When Beyoncé released her most recent album, Cowboy Carter, critics said the artist, popularly linked to R&B and hip-hop, had no business on the country charts or airwaves.
Growing up in Houston and going to rodeos with her grandfather, Beyoncé was exposed to country and zydeco music, which influenced her country-inspired record. Cowboy Carter sparked discussions over Black musicians’ place in the white world of contemporary country music.
When Beyoncé sang “Daddy Lessons” from her “Lemonade” album at the Country Music Awards stage in 2016, the performance was met with backlash from some fans who said Beyoncé wasn’t a country artist. In an Instagram post, she said that Cowboy Carter was “born out of an experience that I had years ago where I did not feel welcomed.”
Black country music artists and their contributions are often overlooked despite the genre often considered the standard American genre. As Black people share their stories of the genre’s beginnings, the history of country music is being re-evaluated.
Houston has a new generation of people who are carrying the mantle, proudly reclaiming their roots.
Ahsaki LaFrance-Chachere and her husband, Dennis Chachere, are at the forefront of this movement with their company, LaChachere Music Group (LMG). The full-service country music label amplifies diverse voices and reshapes how country music is seen, heard and celebrated.
Dennis, a third-generation cowboy from Houston, grew up immersed in the Black Western lifestyle.
“My grandfather brought horses from Louisiana to Pleasantville, becoming the first in the area to own them,” he said. “He also founded one of the Black trail ride groups, the Prairie View Trail Ride Group, which participated in the Houston Livestock Show and Rodeo parade. Riding and roping have been part of my life for as long as I can remember.”
For Ahsaki, the connection to the country runs even deeper.
IN HOUSTON CELEBRATING Black Country Music
“I’m an eighth-generation rancher, Native American and Black,” she explained. “I grew up on the Navajo reservation in Arizona, where country music was a constant presence.
It wasn’t just a genre but a way of life.”
Her upbringing on her family’s ranch, combined with summers in Louisiana witnessing her father’s mule-and-buggy business, laid the foundation for her passion for both country music and the Western lifestyle.
players in the country music industry.
“I met with everyone—from CMT and Spotify to the major record labels—and it became clear that Black and Indigenous artists are often overlooked,” she recalls.
“They’re signed, but their records sit on a shelf, never reaching the audience they deserve.”
Recognizing this gap, the Chacheres created LMG.
labels have their formulas, but they don’t work for our community and culture,” Ahsaki said.
“We’re creating a new formula—one that’s rooted in authenticity and cultural pride.”
often-overlooked contributions of Black artists to country music.
“It’s frustrating,” he admitted. “There have been so many times where African American artists paved the way or created something unique, and it’s been stolen without giving them credit. Charlie Pride is a perfect example—he’s got more number ones than almost any country artist, but his name rarely gets mentioned.”
James sees himself as part of a larger legacy.
“I’m working hard to be that traditional country artist who can stand up there with the best,” he said. His message to aspiring Black country artists is one of resilience:
“You’re going to feel like quitting at least twice a week, guaranteed. But stay true to yourself and your art. Reach out to us. We’re here to make a change, to give a voice to those who usually don’t have one.”
Tavia Brooks discovered her love for country music through her family’s deeprooted Southern traditions. Her grandmother, a farmer, and her uncle, a musician, shaped her early connection to the genre.
“After school, my grandmother, who’s country, would pick us up, and at her house, I’d hear my uncle play. He taught me chords and everything, and that’s how I got into country music,” Brooks said.
The standout country music performer began singing at age nine and performing live by age 16. Navigating the country music scene as a Black artist has been both rewarding and challenging.
“People don’t realize Houston has country roots. From Acres Homes to South Park, it’s part of our culture, but breaking into the industry is tough,” Brooks said. “They don’t believe I’m a country singer until they hear me perform. Then they’re like, ‘Wow, you really are country.”
The major labels have their formulas, but they don’t work for our community and culture. We’re creating a new formula–one that’s rooted in authenticity and cultural pride.”
The couple’s journey into the music business began with their shared cultural roots and a desire to correct misconceptions about Black and Indigenous contributions to country music. In 2014, they launched Four Arrows, a Houston-based Western wear brand, earning recognition as a staple in the Black Western community.
However, an encounter with an underrepresented artist on Ahsaki’s Navajo reservation in 2021 pushed her into the music industry.
“I realized there was a major disconnect,” she said. “They don’t think we’re part of this world, but we’ve always been here.”
This realization led Ahsaki to Nashville, where she participated in the Equal Access program in 2023 and connected with major
“There’s no blueprint for what we’re doing,” Ahsaki said. “We’re not a big label with millions of dol lars in resources, but what we have is priceless: the community. Real heartbeats. Real people who are invested in these artists.”
Dennis said the music group is building something different. These artists exist because they are seen at Black rodeos and trail rides, but they’re not being represented or heard nationally. Our goal is to change that.
For Caleb James, a rising country artist represented by LMG, his journey into country music came with unexpected challenges and a sense of purpose. Originally from Oakland, California, James found his true home in Houston, where he embraced his Southern roots and a passion for country music.
One of her career-defining moments came with a sold-out show at the House of Blues. “I didn’t even know it was sold out until two weeks before. Seeing the crowd—different races, all dancing and enjoying themselves—showed me I belong here,” She said. This experience solidified her belief in her purpose as a country artist.
“Once people started finding out I was African American, I stopped getting booked for shows,” he shared candidly. With the support of LMG, he learned to navigate the industry differently.
The Chacheres are aware of their challenges as a small, independent label. However, they remain undeterred. “The major
As an independent artist, her vision is to keep the spotlight on Black country musicians, especially in Texas. “People forget about us here and focus only on Nashville. I want to show the world that Houston and Texas have country artists, too,” she said.
“They showed me a world where there’s a whole other audience who has never had what I bring to country music,” James said.
“I’d much rather have a show with 200 people who respect me than 10,000 who don’t.”
James also spoke passionately about the
With a new eight-song project blending classic and contemporary country set to release in early February, Brooks is determined to amplify her voice and inspire others to follow. “I’m proud of us for not giving up. We’re a family, helping each other out and making sure country music stays cool.”
Tavia Brooks
Caleb James
(L-R) Ahsaki LaFrance-Chachere and Dennis Chachere are owners of the LaChachere Music Group (LMG), a company that nurtures the talent of local Black country music artists. Credit: LaChachere Music Group
HOUSTON RODEO
UH students salute Cowboy Carter
By Laura Onyeneho
Students at the University of Houston explore Black history in an innovative course that blends music, culture and historical research.
“Before Cowboy Carter: Black Towns, Black Freedom,” led by class professor Dr. Alicia Odewale, uses Beyoncé’s Cowboy Carter album as a gateway to exploring the legacy of Black cowboys, Black towns and the diverse paths to freedom beyond Juneteenth.
This course, being taught for the first time this spring, gives students a unique opportunity to study history and actively participate in preserving and sharing it. Their research culminates in a major public presentation at the Houston Livestock Show and Rodeo’s Black Heritage Day, where they will exhibit their work alongside institutions like the Buffalo Soldiers Museum and the Black Cowboy Museum.
BRINGING BLACK HISTORY TO THE FOREFRONT
The course is a natural extension of Odewale’s long-standing research into Black towns, particularly Greenwood in Tulsa, where she is from.
“People are just now waking up to this idea of Black people being in the West, about Black country music, Black horse riders and all these other aesthetics that have always been a part of our culture,” she said. “I was getting increasingly frustrated with the idea that this history was new when in reality, it has existed for generations.”
Recognizing that music is a powerful connector, Odewale saw Cowboy Carter as an opportunity to engage students fresh and relevantly.
“We use the album as a way to walk through the history of the Black West, but it’s just a starting point,” she said. “We have readings, engage with archives and explore real historical figures and events referenced in the music.”
The Cowboy Carter album boldly challenges the narrative of who belongs in country music by highlighting the historical contributions of Black artists to the genre. It essentially reclaims a space often considered exclusively white and prompts a conversation about racial erasure within American music culture.
The 27-track album pays tribute to various Southern music eras and genres, including outlaw country, Louisiana’s zydeco and 1960s rock ‘n’ roll, with contributions from lesser-known artists and classic country legends.
Each week, she selects a song from the album that connects to a specific historical theme, encouraging students to listen, reflect and draw connections. “It’s been a fun, ongoing game for students to guess why I picked certain songs for each week’s topic,” she said.
“They develop many insightful ideas, often seeing connections I hadn’t thought of.”
A HANDS-ON APPROACH TO LEARNING
As an archaeologist, Odewale’s teaching philosophy is rooted in hands-on learning. “I learn best by doing, and that’s how I structure my classes. We don’t just read about history—we engage with primary sources, archives and personal narratives,” Odewale said. “When we discussed the rise of Black cowboys, we read Matt Love’s 1907 autobiography while listening to Beyoncé’s ‘Honey’ and connected it all to Black rodeos, Black cowboys and the building of Black towns.”
Students in the course are working on a Black Town Story Map, an online resource
that will showcase the histories of the towns they research. “My biggest goal is to see this collection grow,” Odewale said. “Right now, we have 20 towns included, but the more I teach this class, the more stories we can bring to the forefront.”
One of the most exciting aspects of the course is its integration of real-world experiences. Five field trips have been planned, including visits to the Black Cowboy Museum and the rodeo’s Black Heritage Day. Initially, attendance at the rodeo was optional due to cost, but thanks to the Black Heritage Committee, the class was invited as official exhibitors.”
To be in the same space as the Buffalo Soldiers Museum and the Black Cowboy Museum is incredible,” Odewale said.
LaShandra “Shaun” Boddy, the Houston Rodeo’s Black Heritage Committee Chairman, is excited about this collaboration.
“The basics of the course—Black towns, Black cowboys, Black Western music— align perfectly with what we are doing with our exhibitors this year,” Boddy said. “We felt this would be a great way to incorporate the students at the University of Houston, especially since we have other universities participating as exhibitors.”
As exhibitors, students will be stationed in front of Hall D, an area of high foot traffic.
“Each exhibitor gets a table where they can display materials, highlight their research, and engage with the crowd,” Boddy explained. “The students will focus on their projects, sharing what they’ve learned and engaging visitors in discussions about Black Western history.”
Houston HIV Resource
832 927-7926 or
http://rwpcHouston.org
is a free 17 week training course for individuals living with o r affected by HIV. The purpose of the program is to train people to effectively help plan HIV prevention and care services in the Houston Area. Topics covered include the history of HIV in the Houston area, local HIV trends, suppo rtive services available for people living with HIV, and much, much more!
The class is 4 hours, one day a week (Wednesdays from 10am to 2 pm) starting at the end of July and ends with a graduation ceremony in early December. Lunch and class materials are provided. A brief application and personal interview are required Project LEAP is held in a hybrid format (in person and on Zoom)
If you have questions or would like to receive an application, please contact Diane Beck at 832 927-7926 or diane.beck@harriscountytx.gov
The course combines culture, music and history to give students a distinctive perspective on Black history in the American West. Credit: Jhanielle Brown of Shots By JAB
Profle DN LaShonda Johnson Helps Houston veterans find life after service
By Tannistha Sinha
As a case manager supervisor for the Harris County Veteran Services Department, LaShonda Johnson oversees suicide prevention, “justice-involved” cases and crisis situations for the veteran community in Houston. She supervises a team that visits veterans in prisons to reduce recidivism and strategizes re-entry plans for them.
“It's the passion that I have for the things that, that are as experienced, that are left silent and not spoken too much about, that encouraged me to do what I do today,” Johnson said. “ They [veterans] experience the after-effects of going to war, coming back and not talking about what happened at war.”
Now, she advocates for those with “silent disabilities,” such as post-traumatic stress disorder (PTSD), trauma from active duty, sexual abuse, brain injuries, and incidents in one’s childhood.
Malishya “Mali” Lott, the Veterans Program Coordinator at VSD and Johnson’s co-worker, who has known her for years through their time volunteering, says Johnson’s understanding of people makes her easy to work with.
Lott, who also served in the Marine Corps for four years, says what sets Johnson apart is her care for the veteran community. She helps the incarcerated and rehabilitates them into being “productive members” of society.
“She cares so much.
Veteran work is her life's work now,” Lott added. “Her whole life has revolved around the military, from her family being military to her going into the military, to her getting out of the military, going into law enforcement, and then now she's back into the veteran community. So everything is intertwined around veterans.”
A look back
Johnson, also a veteran, was raised by her grandparents as her mother believed they would be a “better fit” for Johnson and her twin sister. Her father was also a Marine.
She joined the Marine Corps in 2000 when not many women made up the force.
She spent 13 years in the U.S. Marines, entering service as a legal services specialist and then rising through the ranks to a staff non-commissioned officer.
Johnson earned bachelor's degrees in criminal justice from the National University in San Diego and health care management from the University of Phoenix. She is currently pursuing an MBA from Sam Houston University.
Soon after serving in the U.S. military, she joined the Texas State Troopers, but in 2013, she resigned and returned home to handle personal issues. Later, she worked for a little over a year at the Veterans Affairs Department for Harris County and the nonprofit Wounded Warrior Project.
Johnson has encountered traumatic events herself. In 2004, her daughter’s father died, and she suffered a traumatic brain injury during military duties, for which she still needs physical therapy every week and injections for her frequent migraines. These events left an indelible mark on her mind.
“After it happened, still moving forward, getting married to someone, having two other beautiful children…life is just…life,” she said.
These traumatic events shaped her life but did not define it. As a disabled veteran, she finds peace in service and faith.
“Knowing that the God that I serve is real, and when I pray, my prayers are answered,” Johnson said. “It might not be answered on my time, but they're answered in due time. To be able to go in there [prisons] and actually see what the need is and how we can help those who are not in there long term” is a feeling John cannot describe. I enjoy helping people.”
For the veterans who are struggling, Johnson suggested reaching out to the VSD office at (281) 876-6600 or email vsdinfo@ harriscountytx.gov.
LaShonda Johnson helps incarcerated veterans find rehabilitation and treatment. Credit: LaShonda Johnson
Johnson says faith, a supportive group and hobbies keep her busy. Credit: LaShonda Johnson
Sports DN
TEXAS COLLEGE ATHLETES
Cash in big time on NIL deals
By Terrance Harris
University of Houston men’s basketball coach Kelvin Sampson will be the first to tell you, that he never thought he would see the day when boosters are allowed under NCAA rules to pay student-athletes.
But the longtime coach never thought he would see the shot clock or the 3-point line enter the game, either.
The NCAA’s 2021 decision to allow athletes to profit off their Name, Image, and Likeness (NIL) changed the landscape of college athletics. College athletes are allowed to make money—and in some cases lots of it.
“You don’t sit around and complain or wish for better days,” Sampson told the Defender. “You just strap it on every day and try to get better. I accept it (NIL rule). We accepted the NIL as soon as it came out. I think the schools that did not fell behind.
“I’m not in a position to critique or say if it’s good or bad. It’s not important how you feel individually. What’s important is how you embrace it. Your kids need to know that you embrace it, too. You don’t want to be in a position where you are begrudgingly doing something and then holding this against them.”
Before 2021, a school would have found itself on the wrong side of the NCAA regulations if boosters were caught paying student-athletes for their time or use of their name, image and likeness. But now boosters nationwide are forming collectives and pooling their riches to pay athletes in all sports. Power conference athletes from the Big Ten, Big 12, SEC and ACC can make anywhere from $10,000 to over $1,000,000 annually, depending on how deep the booster’s pockets go. Student-athletes can also make money through advertising deals or when their images and likenesses are captured in video games.
In Texas, University of Texas quarterback Archie Manning makes $3.1 million a year without being the official starter, while starting quarterback Quin Ewers
University of Houston coach Kelvin Sampson says that if you want to be among the elite you have to be accepting of the NIL and his star guard L.J. Cryer is among the highestearning NIL in Texas. Credit: Getty Images
makes $2.3, according to On3. Houston native L.J. Cryer, who has played for Sampson the last two seasons, is among the top five highest-paid players in the state, totaling $769,000 annually in NIL deals.
Women are also getting paid, with LSU gymnast Livvy Dunne topping the list, TCU forward Sedona Prince, and Houston natives Meezy O’Neal (University of Florida) and Madisen Skinner (UT) among the highest-paid women athletes.
“I don’t think anybody who has a very, very talented roster is not depending on NIL,” Sampson said. “A lot of kids are making good choices by going to programs that fit them so they are not taking the best offer. I think our league reflects that.
“Our league uses the NIL. It’s important to us, it’s important to every program. No Top 20 or Top 25 team in the nation doesn’t use NIL.”
It’s a standard belief that student-athletes deserve more
money than just their scholarships for free education, with schools and conferences making billions of dollars off football and men’s basketball each year. But, there have been some downsides to instant riches and the pursuit of riches, with student-athletes now able to hop from school to school via the NCAA Transfer Portal to chase more NIL money.
Then there is the concern of putting so much money in the hands of 18 and 19-year-olds who may not be ready for that much responsibility or the high federal and state tax obligations that come with earning substantial money. And then there are the concerns with the trappings and distractions that come along with making hundreds of dollars while still being a student-athlete taking classes.
Most schools across the country provide help and financial guidance for student-athletes and their families, but with the NIL still being so new, it’s uncertain how effective it has been. But
Sampson says he and his staff have taken full responsibility in guiding the Cougars’ basketball players.
Every year, the Cougars’ basketball staff holds a Zoom call for the players’ families to ensure they understand the responsibilities and help them.
“It’s not the school. It’s the basketball program. It starts with the head coach. Schools don’t coach these teams. Coaches do. Schools don’t deal with the players. The people that deal with my players are my staff and that’s who they lean on and we lean on each other. I’ve said this many times, I think we do a great job here with financial literacy. Most of these kids don’t know what credit cards are, they don’t know what 1099s are or W-2s or what taxes are; federal tax, state tax, income tax or anything. I had no idea when I was their age. I didn’t know.
TEXAS STUDENT ATHLETE NIL BREAKDOWN
KELVIN BANKS SPORT: Football SCHOOL: University of Texas
NIL MONEY: $944,000 KNOWN DEALS: Texas One Fund (NIL collective)
L.J. CRYER SPORT: Men’s basketball SCHOOL: University of Houston NIL MONEY: $769, 000 NIL DEALS: Linking Coogs (NIL collective), SKIMS
NIC SCOURTON SPORT: Football SCHOOL: Texas A&M NIL MONEY: $729,000 KNOWN DEALS: Texas Aggies United (NIL collective)
BRANDON BAKER SPORT: Football SCHOOL: University of Texas
NIL MONEY: $650,000 KNOWN DEALS: Texas One Fund (NIL collective)
TAHJ BROOKS SPORT: Football SCHOOL: Texas Tech NIL MONEY: $621,000 KNOWN DEALS: EA Sports, The Matador Club (NIL collective)
Source: On3
“But because the NIL has become such an important part of team building and roster building, I think it’s incumbent upon the staff … I think all of the staffs across the country do a great job. We certainly are not unique in anything here. But it is part of your responsibility to educate these kids and also their families.”
Sports DN
ALIEF TAYLOR HOOPER
NATALIYAH GRAY Makes waves as a walking double-double
By Jimmie Aggison
When it comes to high school basketball, few names shine as brightly as senior forward Nataliyah Gray. The Alief Taylor star has made waves across the basketball community, not only for her staggering statistics but for her relentless work ethic, versatility and basketball IQ.
“Nataliyah’s versatility causes problems for all opponents,” said Alief Taylor’s head girls’ basketball coach Brandy Jones. “She can score in the post, midrange and from the 3-point line. Coaches game plan to try to stop her but she still puts up big numbers.”
Gray’s on-court dominance is unmatched. This season, she has recorded a double-double in 30 of her 31 games, showcasing her ability to excel on both ends of the floor.
Averaging 26.8 points and 13.7 rebounds per game, Gray has amassed 778 points and 396 rebounds, leading her team in nearly every statistical category, including blocks (98), freethrow percentage (76%) and field goal percentage (47%).
Gray’s success is deeply rooted in the guidance of her mother, Chontel Gray. A former basketball star who played at the AAU, collegiate, international and ABL levels, Chontel instilled in Gray the values of hard work, basketball education and versatility from a young age.
“We do a lot of basketball education,” said Chontel. “She sees so many defensive variations. When they throw her a challenge, we go into film, I educate and
This approach has shaped Gray into a player who can adapt to any challenge. With her 6-foot-3 frame, solid ball handling, and deep offensive repertoire, she’s become a nightmare for defenders.
“Nataliyah poses a huge challenge for defenders because she has an arsenal of moves and a knack for scoring the basketball,” said Jones. “When you take away one move, she has a counter move.”
Gray’s basketball journey began in the third grade and she faced initial challenges due to her limited knowledge of the sport. To enhance her athleticism, her mother, Chontel, introduced her to soccer and tennis, aiming to improve her hand-eye coordination and agility. As Gray’s abilities grew, Chontel strategically placed her in demanding settings, such as on boys’ teams and on outdoor courts, to foster mental resilience and self-assurance.
“Playing against boys built my toughness and brought out the relentless will to rebound that I have,” said Gray. “Playing against boys that were more athletic and taller made boxing out a habit and that built my skill of utilizing pump fakes. It also taught me to play smarter because of my disadvantage physically, which further sharpened my mental game.”
“Despite the physical and emotional challenges, she never quit, she was fearless and never gave up,” said Chontel. By ninth grade, Gray was dominating 17U summer leagues, quickly catching the eye of college scouts, including Mississippi State’s coaching staff. The summer leading into her senior year, Mississippi State head coach Sam Purcell offered her a spot. And she accepted.
“I knew Mississippi State was home when I went on my official visit,” said Gray. “The environment and energy were different. The amount of support the Mississippi State women’s basketball team has is impactful. The amount of experience the coaching staff has is remarkable and the passion Coach Purcell has for women’s basketball is on a whole different level. I knew he was a coach I would want to play for and grow under.”
Throughout her remarkable high school career, Gray has accounted for over 3,000 points, 1,500+ rebounds, 94 double-doubles and 350 blocks. Her outstanding performance earned her numerous honors, including Newcomer of the Year, two-time Offensive MVP, and repeated All-District and All-Region selections.
“It feels amazing to surpass 3,000 points while also having over 1,500 rebounds. The results speak to the hard work I put into my game,” said Gray.
ABOUT NATALIYAH GRAY
Class: 2025
IG: @D1._tally2
Twitter: @ ChontelReynolds
Position: Forward
Height & weight: 6-feet-3, 160 pounds
Favorite artist:
Partynextdoor
Status: Committed to Mississippi State
Favorite subject: English
Shout-outs: Mom
For Gray and her mother, the journey is about more than accolades. It’s about preparation, growth and a relentless pursuit of excellence.
“Our motto is getting college ready,” Chontel emphasized. “You’re not going to get college-ready by just watching games; you have to play, make mistakes, grow and develop.”
Profle DN
YUNGCHRIS Makes major moves with Houston hip-hop
By Laura Onyeneho
Christopher Thomas, better known as YUNGCHRIS, is a force in Houston’s hiphop dance scene.
As a choreographer, performer and director of Sonkiss’d Dance Concepts, he has dedicated his career to preserving and advancing the city’s rich yet often overlooked dance culture. With his latest work, My Posse’s on Broadway, premiering at the Wortham Center on March 6, he’s bringing Houston’s dance history into the spotlight.
Born and raised in Houston, YUNGCHRIS’s love for dance was evident from an early age.
“My mom saw me dancing to Soul Train as a baby and thought, ‘he might be into dance,’” he says.
She enrolled him in a dance company in Acres Homes when he was just seven years old, and despite initially being too young for the group, his raw talent earned him a spot.
While other kids were playing sports or hanging out, YUNGCHRIS was in rehearsals, performing at prestigious events—including a performance at former President George H.W. Bush’s home.
However, as he entered middle and high school, dance wasn’t considered the “cool” thing to do, so he gravitated to sports and being the class clown. It was after high school that he realized his true calling.
“I went to college for two years, but all I did was party and dance, he said. “Eventually, I thought, ‘Let me go back to my true love.’”
At 21, he threw himself into the dance world, actively seeking out companies, auditions and opportunities. “I wanted it all,” he says. “Everything that came with dance, I was chasing it.” That decision set the foundation for a career that would take him worldwide.
THE MAKING OF A CHOREOGRAPHER
Transitioning from dancer to choreographer is no easy feat, but for YUNGCHRIS, it was a natural evolution.
“Not all dancers are choreographers—just like all nurses aren’t doctors,” he explains. “Choreography is an art form and I always had that mindset, even as a kid when I’d create routines for my little cousins at family gatherings.”
Through years of experience, mentorship and relentless self-improvement, YUNGCHRIS developed his unique approach to choreography, blending street dance with contemporary elements and storytelling. His work is deeply rooted in hip-hop’s foundations, something he believes every dancer should study.
“Without a strong foundation, your house will fall,” he says. “I always start with the fundamentals and build from there.”
While Houston is globally recognized for its contributions to hip-hop music and culture, its dance history remains largely untold. YUNGCHRIS is determined to change that.
“When people think of hip-hop dance, they think of New York or L.A.—not Houston. But some of the most influential dancers in the world have come from here,” he says.
That’s the driving force behind My Posse’s on Broadway, his tribute to Houston’s hip-hop dance movement of the early 1990s.
“This isn’t just my story; it’s the story of the dancers who paved the way, the culture that shaped us, and the generations that will come after us. Why not tell it? And why not now?”
YUNGCHRIS’s work has taken him far beyond Houston. He spent a year living in Bangkok, teaching dance and working with
YUNGCHRIS leads a new generation of Houston dancers, preserving and elevating the city’s hip-hop legacy. Credit: Claire McAdams
“I want to create platforms for Houston artists,” he said. “I want to put people on.”
YUNGCHRIS’s influence extends beyond his performances—his mentorship has shaped the careers of many dancers, including former student Olanga Matranya.
“I came to the U.S. [from Congo] wanting to play professional soccer, but due to health reasons, I had to find something else,” Matranya says. “I was put in a breakdance class, and at first, I hated it. But after seeing a pep rally performance, I knew I wanted to be part of something bigger. Chris became my instructor, and he pushed me to be better every day.”
Matranya credits YUNGCHRIS for teaching him not just dance but also the business of the industry.
“One thing Chris told me that will always stick with me is: ‘Don’t worry about the money. Just be good. When you’re good, the money will come,’” Matranya said. “That changed my entire mindset.”
the U.S. Embassy as a cultural diplomat, traveling across Southeast Asia to perform and conduct workshops.
“I moved to Bangkok knowing one person and left with an entire dance community,” he says.
Yet, despite his international success, he remains dedicated to uplifting Houston’s dance scene. Through Sonkiss’d Dance Concepts, he hires and mentors local dancers, providing them with opportunities to perform on major stages.
YUNGCHRIS’s ability to balance strict discipline with encouragement is something that Matranya admires.
“When it’s time to work, we work,” Matranya says. “But he also knows how to make the process enjoyable. He leads by example— whether it’s dancing, DJing, or producing, he proves that dedication pays off.”
While his career may seem glamorous from the outside, YUNGCHRIS emphasizes the hard work behind the scenes.
“People see the wins, but they don’t see the rejections, the disappointments, the financial risks,” he explains. “I fund a lot of my projects out of pocket because the work has to be great. My name is on it.”
As an independent artist, he embraces the entrepreneurial side of dance.
“I own my work. I set my prices. I take the risks,” YUNGCHRIS says. “That’s the reality of this career.”
The most rewarding part of his journey isn’t just performing—it’s knowing he’s living in his purpose.
“It gives me peace,” he says. “I know what I’m supposed to be doing, and I embrace it fully.”
See how his company uplifs local dancers in Houston