Black History Month
In 1924, acclaimed historian Carter G. Woodson established Black History and Literature Week in his fraternity Omega Psi Phi in an effort to promote the achievements of Black individuals.
While the initiative had an immediate impact, Woodson wanted to reach further. In an effort to complete this, Woodson founded the Association for the Study of African American Life and History– an organization devoted to promoting and preserving all aspects of Black culture and history.
“Individuals wanted an opportunity to celebrate the accomplishments of African Amerians because it had long been neglected,” Dr. David Childs, a professor in multicultural education at Northern Kentucky University, said. “Black History Month tries to humanize people of African descent by highlighting [their] history and culture.”
Black History Week officially became Black History Month at Kent State University in 1970 after the accomplishments of the civil rights movement and was later recognized nationally by President Gerald Ford in 1976. Since then, communities celebrate it worldwide, along with many other heritage months introduced to celebrate the heritage of marginalized peoples.
“Black History Month, in the same way that Women’s History Month in March [does], in the same way that Latino History Month does, tries to empower people by educating the public about the past,” Childs said.
Childs teaches multiple classes, but his most popular is multicultural education. It includes conversation regarding civics and discusses the reasons for and importance of a constitutional democracy.
President Trump signed an executive order planning to abolish diversity, equity and inclusion programs (DEI) offices across federal workplaces due to alleged reverse discrimination, consequently shutting down many DEI-related programs at places such as PBS, Google and PayPal. Trump also threatened to withhold funding from schools that keep such programs.
“The mythology is that people of color get special privileges [and] advantages, but it’s a myth because if that were the case, I would have more diverse classrooms,” Childs said.
Diversity and discrimination are oftentimes switched in definition,
despite their differing impacts on a society. Diversity aims to promote a peaceful and intertwined community, which benefits everyone. Discrimination, on the other hand, separates people based on prejudice related to defining features, such as sex or race.
“The Black perspective is going to give you a unique perspective… diversity allows us to have a wider lens,” Childs said.
Black History Month gives everybody an opportunity to appreciate the beauty of Black culture. Every heritage month is unique in its own way and the representation for marginalized groups can drastically improve unity and recognition in the United States.
“When you forget or erase a group’s past, you erase their existence,” Childs said.
Music has been a staple in African American history bringing people together in times of uncertainty and racial disparities. As time went on, music evolved, slowly shaping into the styles popular today. With renowned styles such as R&B and hip-hop, the African American influence on music continues to leave a lasting impression on American music and society.
Blues – 1860s
The blues originated from African Americans in the Deep South in the late 1860s after the Civil War. The musical styling and composition of the genre were heavily influenced by work songs and spirituals from former slaves and sharecroppers in the South. Blues music is often used to express the troubles and woes of the singer, often times reflecting the social and cultural pressures against Black people. The music style reached its pinnacle and hit international popularity from the 1950s to 1960s. It then evolved into a commercial sound that was adopted by the Western world and paved the way for well-renowned African American artists such as Muddy Waters, Big Mama Thorton and B.B King nicknamed the “King of Blues.”
Ragtime – 1890s
Ragtime, primarily developed by African Americans in the South in the late 1890s, specializes in shortened or “ragged” rhythms. This genre combines musical features used by slaves including syncopated beats and African American banjo styles, as well as components adapted from white Americans. These pieces typically contain several distinct themes, often arranged in patterns of repeats and reprises. While the genre has been adapted to be played on a variety of instruments, the music has been historically composed and performed on a piano. Due to its lively melodies and upbeat rhymes, ragtime is seen as a precursor to jazz music.
Jazz – 1900s
Jazz originated in African American communities in New Orleans in the early 1900s. The style is categorized by urgent beats, complex vocals, call and response notes and improvisation – such as impromptu solos known as scatting. This style has roots in ragtime, blues and spirituals sung by slaves. The music served as a call to freedom and provided a powerful voice to African Americans and various people of color who suffered different forms of racial injustice. The most famous example of the influence this genre had on African Americans in the 1900s was its part in the Harlem Renaissance, particularly in Cotton Clubs. The Cotton Club was the most popular nightclub during the Harlem Renaissance, where African American performers could experiment with the fresh musical styles of swing, blues and most famously, jazz. The club helped popularize numerous African American jazz icons such as Ella Fitzgerald, Duke Ellington and Louis Armstrong. Other notable jazz musicians include Miles Davis, Sarah Vaughan, Mary Lou Williams and Tom Browne.
R&B/Soul – 1940s
Rhythm and blues, more commonly known as R&B, combines elements of pop, blues, swing and jazz, accompanied by prominent bass and drum beats. It is a broad category that includes the blues as well as several other musical styles, and is known for its soulful vocals. The lyrical themes of the genre typically encapsulate the highs and lows of Black American history in terms of oppression, societal racism and the quest for freedom and joy. This vast musical genre’s most notable sub genre is soul. Soul is often seen as a more sophisticated version of R&B that incorporates its emotional and smooth melodies and emerged primarily during the 1960s civil rights movement.
Hip-Hop/Rap- 1970s
Hip-hop began as a cultural movement in marginalized communities and low-income areas that combined music and art. Jamaican artist DJ Kool Herc, nicknamed the “Father of hip-hop,” is credited with creating the genre in 1973 in the Bronx, NY during a block party. While it is unclear what the exact musical influences for hip-hop are, it is evident that the style’s early pioneers were influenced by a medley of cultures. Preceding hip hop, there were spoken-word artists– a style that gained popularity in the 1970s and 1980s during the Black Arts Movement. Popular spoken-word albums such as The Last Poets self-titled album in 1970 and Muhammad Ali’s “I Am the Greatest” in 1963 are regarded as some of the earliest examples of rap and hip-hop. Aspects of the movement included MCing (or rapping), DJing, breakdancing and graffiti art. In its early stages, the movement served as an outlet for multicultural youth in their fight against systemic racism in their communities. What was once a cultural revival of art and music evolved into a revolutionary movement providing a voice for those who would otherwise go unheard. Over time, the movement began to expand, evolving into the musical stylings that are popular today. Notable hip-hop artists that are credited with shaping the culture of hip-hop today include DJ Kool Herc, Grandmaster Flash, Tupac Shakur, N.W.A, the Notorious B.I.G, the Wu-Tang Clan, Lauryn Hill and Kendrick Lamar.
AP African American Studies (APAAS), is one the newest addition to the College Board’s selection of Advanced Placement offerings. The course covers “the diversity of African American experiences through direct encounters with rich and varied sources,” according to the College Board website.
“The AP African American Studies course and exam description is a little bit different than [the] other histories,” Sara Mcguire-Jay, Chair of the Social Studies Department, said. “It’s a lot more explicit than some of the other social studies [courses] where they explore these topics.”
The course is also considered interdisciplinary, meaning that students are expected to analyze readings, music, art and other primary sources in order to gain a deeper understanding of the historical context of the class. Likewise, it also differs from other AP social studies courses, with less emphasis on writing.
“[APAAS] has SAQs, it has multiple choice, but in lieu of other FRQs, it has… a capstone style project where you get to research anything you want throughout the year,” Miles Spieler, ‘25, said.
The course has four distinct units that each focus on a different time period in African American history. The first unit focuses on the African diaspora, the second on slavery and its resistance, the third on emancipation and the fourth on modern movements and debates within the African American community.
“I’m learning a lot of stuff pertaining to African heritage,” Zakia Wilson, ’25, said. “It’s definitely interesting to learn about how powerful… Africans were before they came to our country.”
The class places a heavy emphasis on learning about the experiences of African Americans in Africa and in the United States across different time periods.
“You get to learn a lot of things that you would have thought you’d know more about, like the countries in Africa and how they actually function,” Amaru Forrester, ‘25, said. “It’s just a lot of new information that I find really interesting and I think is important, especially if you are Black.”
The idea of implementing an African American studies course had been around long before the official implementation of APAAS in the 2024-2025 school year.
“To have a designated course for African American studies is really important,” Mcguire-Jay said. “[Cincinnati Public Schools] several years ago was encouraging most schools to have a semester of African American history and they also were encouraging English classes to have African-American literature.”
APAAS is an addition to an already diverse social studies department at WHHS, which boasts courses such as Themes in Irish History, Survey of African History and Ethnic Studies.
“For the kids who are [interested], we have options for them to get that multicultural curriculum,” Mcguire-Jay said.
APAAS has recently been subject to intense political scrutiny, with three states passing laws that ban education about race and gender.
“We’re learning history… and it’s very open-ended,” Spieler said. “It’s not telling you what to believe, you’re learning about things that are often hidden, and that’s what I think the purpose of this ban is in a lot of places is: to obstruct that.”
While APAAS might focus on Black history, the course is designed so that all cultures, nationalities and backgrounds will gain valuable insights from the course.
“I recommend [the course] for everyone because everyone needs [it],” Wilson said. “I feel like history courses only focus on… slavery and the civil rights movement. This course talks about that stuff but it introduces a lot of people that I personally did not know- [the people] that built the cultural movements that we know about today.”
Historically Black Colleges and Universities (HBCUs) offer students a unique and enriching experience that expresses a sense of community, representation and opportunity.
As the interest in these institutions continues to grow, many WHHS students are exploring the possibilities of attending HBCUs in the future.
Ananda Harris, ‘26, hopes to attend Spelman College, an all-women’s HBCU located in Atlanta. Harris was not only drawn by the prestigious academic programs, but also the legacy it holds for her family.
“Spelman holds deep significance for me because my mother attended there, and I would love to continue her legacy, with the hope that my future children will do the same,” Harris said.
With hopes of becoming an anesthesiologist, Harris is particularly motivated to contribute to increasing Black representation in the medical field.
“There is a shortage of Black doctors, especially those who have graduated from HBCUs,” Harris said. “I aspire to be part of the solution.”
Though Harris is enthusiastic about the potential of attending an HBCU, she acknowledges some concerns, such as cost of tuition and housing availability.
“College has become increasingly expensive, and Spelman’s high enrollment sometimes exceeds its housing capacity,” Harris said.
However, she remains optimistic about what her future holds and the immense value the experience offers, both academically and personally.
“One of the aspects that draws me most to an HBCU is the opportunity to be part of a community where representation is prioritized,” Harris said. “Being surrounded by individuals who look like me fosters a sense of belonging and confidence, which is invaluable in both academic and social settings.”
Mara Bronson, ’25, is also considering Spelman College. Bronson fell in love with the school two years ago when she participated in a summer program there.
Bronson plans on majoring in art history, but also hopes to study abroad. After spending her high school years taking Spanish classes, Bronson wants to further immerse herself into the Spanish culture by studying abroad.
“I’m interested in their study abroad programs; the Atlanta University Center (a consortium of HBCUs in Atlanta) offers many opportunities for internships and travel,” Bronson said.
Numerous WHHS alum have gone on to attend HBCUs, including Gabrielle Nelson, ‘23, who went on to further her academic career at Howard University, a HBCU located in Washington, D.C. Attending HBCUs is a tradition in Nelson’s family.
“My mom went to Florida A&M University, my grandma went to Spelman, my sister goes to Spelman, my aunt also went to FAMU and my dad went to Morehouse,” Nelson said. “I also have uncles and cousins that went to Howard and Hampton, covering the entire east coast and south.”
Being part of a legacy like this was a powerful motivator for Nelson.
“I think it was because it was a family tradition that inspired me, but also just the ability and the privilege of being able to be surrounded by people who look like me and can understand me on a different level for the next four years is the greatest gift that I could ask for,” Nelson said.
Academically, Nelson emphasized how unique the experience is at HBCUs.
“There is nothing like HBCUs in the entire world,” Nelson said.
Before Kendrick Lamar, Beyonce or Taylor Swift, a different type of music was popular. R&B, folk, bluegrass, doo-wop and funk were just a few of the genres that took the world by storm from the 1940s through the 1960s, eventually laying the foundation for today’s musical artists.
About half a mile away from WHHS lies the epicenter of these genres. King Records, active from 1943-1968, has had an instrumental impact on the music industry, as well as the civil rights movement, for its role in breaking barriers in music. With artists such as James Brown and Bootsy Collins, it produced many smash hits, yet received little recognition, overshadowed by other labels of the time, such as Atlantic and RCA Victor.
King Records was one of the first fully integrated workplaces in Cincinnati, bringing together artists of all backgrounds and races. The label also hosted some of the first Black producers, such as Henry Glover, who further helped create a unique and accepting workspace.
(Elena Brown)
In an interview with writer Arnold Shaw for his book “>Honkers & Shouters published in 1986, the now-deceased Glover commented about the welcoming atmosphere fostered by owner and founder of King Records, Syd Nathan.
“At King, we worked with white country artists as well as Black R&B performers, [so] we constantly crossed boundary lines,” Glover said. “Syd Nathan had me record blues with C&W [Country and Western] singers like Cowboy Copas and Moon Mullican, and I did country songs with Wynonie Harris [an African American blues singer].”
One of the remarkable things about King was the sheer variety of records produced. Unlike other record labels at the time, King didn’t focus on one genre, instead choosing to dabble in all sorts of music. Additionally, King was one of the first labels to experiment with the new concept of having an artist cover a song in a genre different from what they normally sang.
“The fact is that King Records was covering R&B with country singers almost from the beginning of my work with Syd,” Glover said. “We had a duo called the York Brothers who recorded many of the day’s R&B hits back in 1947-[19]48. I’ll confess that we didn’t think we were doing anything remarkable. It’s just that we had both types of artists, and when a song happened in one field, Syd Nathan wanted it moved into the other.”
It was one of the music blending sessions that created what many attribute as the first rock and roll song of all time, “Good Rockin’ Tonight”, by King figurehead Wynonie Harris, which would later be covered by acclaimed musicians, such as Elvis Presley and Bruce Springsteen.
Despite its string of hits, for many years, the name King Records was rarely uttered at WHHS. However, a new initiative in conjunction with Xavier University was created for students interested in learning about the history of Evanston, in particular King Records.
Students meet every other week to learn about the neighborhood with two retired Xavier professors and residents of Evanston running the program. Jason Parker, ‘26, is one of the regular attendees. Parker originally decided to participate in the program due to his love of music; however, he has realized a newfound appreciation for the work that King Records accomplished.
“I think it’s really interesting how Cincinnati was segregated for a long time and the music is really what ended up bringing people together and kind of was a catalyst for eroding some of the racial barriers that we [had],” Parker said.
In addition to its contributions to desegregation, Parker also believes that King has had an enormous impact on the music industry, even extending into the modern day.
“You can walk into a record store today and there will be King’s records in there,” Parker said. “It’s definitely impacted Cincinnati culture, but I feel like it’s kind of gone beyond and allowed kind of the world to see our city and the wonderful people who live here and create [music] here.”
However, today many students do not have the faintest idea about the rich history that exists only a few blocks away. The original King Records building fell into a state of disrepair following Nathan’s sudden death in 1968, which Miles Spieler, ‘25, another participant in the program, believes is a contributing factor to the lack of recognition.
“It’s not a very-notable looking place,” Spieler said. “It’s in a warehouse with a sign out front. I think it deserves more credit than it gets. It’s an important part of Cincinnati history.”
This lack of acknowledgment is not a new phenomenon for King. Ever since its creation in 1943, there has been little buzz around the magic happening within the red-brick building.
“The newspapers weren’t interested,” Dorothy Halper, Nathan’s sister, said. “Nobody cared about King Records. The city wasn’t proud of its association. I think people in other cities were more interested and impressed with the company.”
One recent initiative to put King Records on the map is the Black Music Walk of Fame, founded by Hamilton County Commissioner Alicia Reece.
Reece originally got her inspiration for the Walk from a lifelong association with Black artists; both her parents were involved in the music scene and the civil rights movement.
“I realized that these stories, these experiences, must be passed on,” Reece said. “They can’t die when we die and so that’s one of the reasons why I wanted to have the Cincinnati Black Music Walk of Fame. I know that for some at first, it probably was hard to imagine, because it was just an empty lot of rocks. I’m thankful that people allowed the vision to become a reality and I was very committed.”
Reece also desired to make the Walk an interactive experience for participants, with elements such as a beatmaker area where passersby can show off their musical skills, and an augmented reality experience. So far, these components have proved to be successful, with 192,000 visitors visiting the attraction since its opening on July 22, 2023.
“The thing that I told everyone when we started this project [was] ‘bring me Disney World but on a budget,’” Reece said. “If you have an idea, I want you to ask yourselves two questions before you present it: Is it award-winning? Is it world-renowned right now in your mind?”
Another member of the committee that helped to get the Walk built was Lincoln Ware, a talk show host and face of “The Buzz,” a radio show that aims to give Black Cincinnatians a voice and to tell their stories. Over the course of the project, Ware and the rest of the committee faced multiple challenges in order to get the Walk finalized.
“The park foundation owns the land and that was tough to maneuver because we had to get their permission, but we didn’t want them to actually own the Walk: We wanted that freedom,” Ware said.
Despite the recent strides toward recognition of King and other African American musical artists, there is still much progress that needs to be made to appropriately restore King to all its former glory.
Money has been set aside to renovate the label by the city of Cincinnati, however progress still remains slow. Many plans have circulated over the years as far as what to do with the building.
“There definitely needs to be [a] King Record museum component where you can get more in de[tail] from the King Record story and the artists for King,” Reece said.
At the forefront of these ideas is Kent Butts, son of Otis Williams who was a part of the band Otis Williams and the Charms, one of King’s most successful acts. Butts is the executive director of the King Records Legacy Foundation and is currently working to secure private donations in addition to the money from the city.
(Elena Brown)
However, today the crumbling building at 1540 Brewster Avenue still stands empty. One recent addition to the building is a historic marker, placed in 2008, celebrating the legacy of King Records. Although this sign may not seem like much, it is an important first step towards recognizing and preserving King.
But why should students care about restoring King, and what does it have to do with modern life?
Besides being simply interesting, perhaps we can learn from King. The blending of different artists and genres is something we can emulate today.
“It’s really relevant now that people connect and understand each other emotionally,” Parker said. “Telling someone something doesn’t always connect with them the same way that dancing in the same room together does.”
If we stopped being so divisive and contradictory, maybe we could see, just like how there’s not a big difference between blues and country, the difference between white and black, between female and male and everything in between is only the changing of a few notes.
If we can just overcome our differences, like James Brown and Syd Nathan, we will create some beautiful music.
Your donation will support the student journalists of Walnut Hills High School. Your contribution will allow us to purchase equipment, cover our annual website hosting, printing costs and offset competition and conferences fees for students.