Business
Keisha Drammeh: The art of redesigning vintage clothes
THE BIRMINGHAM TIMES — Keisha Drammeh’s eye for history comes in handy, especially with her line of vintage clothing.
By Ameera Steward
Keisha Drammeh’s eye for history comes in handy, especially with her line of vintage clothing. Based on what she buys from thrift stores and estate and garage sales, she can always tell what was going on in the world when a certain item was in style. She researches the year and the era to make sure the attire is “authentically vintage.”
“There is a lot of copycat stuff out here,” she said. “You can look at zippers, buttons, and stitching to see if [an item] is truly vintage or not.
“Art is in everything, and fashion is an art form. So, anything I see can be used for fashion. I’ve always been taught to appreciate everything because you can see nature in it all. Patterns, fabrics, designs all have naturally occurring aesthetics [that] can be turned into artwork.”
It’s Poppin!
Drammeh creates artwork from used clothing she finds and recycles, and she sells those creations through her business, It’s Poppin! Vintage. Her “sustainable” vintage clothing store, which opened in 1994, features trendy, urban, vintage items while sustaining the environment and minimizing carbon footprints. She chose the name “It’s Poppin” because it’s long been one of her favorite phrases.
“I was saying that before it got trendy,” she said. “Now everybody is like ‘It’s poppin!’ It’s been poppin’ for me.”
A self-professed fashion activist, Drammeh doesn’t feel there’s a limit to what a person can wear, where they can wear it, and how they can wear it.
“I like gender-neutral items,” she said. “I’m not super-girly, but I’m not super-tomboy, [either]. I like to mix men’s pieces with women’s pieces. … There’s … no limit to fashion. It runs the gamut.”
In addition to telling the story of the clothes, she uses the word “sustainability” in what she does because “that’s what [my parents and I have] always done, being sustainable, … recycling and reusing, trying to reduce the amount of money [we would] spend on stuff,” she said.
Black History Month
February is a big month for Drammeh. On February 1 she was part of a fashion show presented by Golden Hour Productions and Unity Culture. And on February 10, she will host a Sip and Shop at the current It’s Poppin! Vintage, location, 1904 2nd Ave. N., inside the Paisley Pig in Bessemer; tickets are $10, and those attending should bring five items and have about three minutes to shop.
“[It] kind of gives it like a little exhilarating rush,” Drammeh said, explaining that any clothing that isn’t sold during the event will be donated to Olivia’s House, a transitional house for women and children.
“I hope I can be a part of that whole movement [to change fashion],” she said. “If it’s trendy to shop at a thrift store, please be trendy. You’ll save so much money, and you’ll have your own unique look.”
Beyond fashion and business, Drammeh is part of the National Hook Up of Black Women, an organization that started in Chicago, “because this sister felt like black women didn’t have a place to meet or hook up and be resourceful with each other,” she said, adding that the group is resourceful to the point that they have become her team for whatever she needs when it comes to her programs.
Drammeh also has established an art and culture program. Because it’s Black History Month, the topic of discussion will likely be about Africa, and participants will make three-dimensional masks.
“The event is for kids,” she said. “It’s a [two-day] youth program … in conjunction with the Hook Up, … which is the type of organization that [will provide support for] whatever you want to do.”
“Spirit of Birmingham”
Drammeh, a 44-year-old mother of three, was born in Chicago, Ill. When she was 14, her family moved to Detroit, Mich., where they lived for the next 20 years. She then moved to Atlanta, Ga., where she lived until August 2018, when her husband received a better job opportunity that brought their family to Birmingham.
Drammeh loves the Magic City, but for her there’s no place like the Motor City.
“I love Detroit, and I see some similarities between Detroit and Birmingham,” she said. “I like the spirit of Birmingham. I’ve been able to connect with some really creative people here, and I like how the creative community is tight knit. It seems like a small, big city. I like that feel versus coming from a place that was on steroids.”
Artistic Beginnings
Drammeh was an only child, and her parents were activists.
“My parents always [bought black]. We’ve been buying black since I was little,” she said. “[We] lived a real African-centered lifestyle, so we put black before anything.”
Her mother was an account executive who sold commercial time for major television networks, and her father was an artist.
“[My dad was always] digging, … pulling up, and putting stuff in the back of the car that people were trying to throw away,” she said. “He didn’t believe in wasting.”
Drammeh’s family didn’t go to church, so Sundays were the creative days in their household.
“Jazz, Miles Davis playing. Painting. … Just doing stuff in the house. … That’s the type of vibe my parents were on,” she said. “Looking back on how I grew up, I think a lot of black people could have benefitted from coming from such an African-centered household. … I don’t think a lot of black families were having the type of conversations that took place in our home and letting their kids be part of them.”
Growing up in such a creative household helped Drammeh develop her own style—and not care what others thought about it.
“I was one of those kids putting graffiti on and holes in their clothes before [designers] started selling [clothes like that],” she said. “You know, that was tacky for some people, especially your parents. I feel like that [style] was kind of inspired by [my] generation.”
Growing up in the Motor City also influenced Drammeh’s sense of style.
“In Detroit, you’ve gotta be ready for whatever at all times,” she said. “I look at [rapper] Kash Doll, [singer, rapper, and songwriter] Dej Loaf, and other Detroit artists and say they are basically still Detroit girls.”
Community Work
Drammeh earned a bachelor’s degrees in mortuary science and community development from Detroit’s Wayne State University, but she has always been an educator at heart.
“I ended up in art education because I love art and I love community,” she said. “I’ve always worked with after-school programs and had my own after-school programs for youth.”
Drammeh has been in the education and youth-development fields for years, both with her own cultural art programs and with the Boys and Girls Club in Atlanta, where she served as the cultural art director. She left that job in 2014 to devote time to It’s Poppin! Vintage.
In Atlanta, Drammeh found several nice thrift stores, where she would often shop for her friends. She also would add fabrics or patchwork to pieces to create different looks.
“For my friends and myself, … if I saw something cute [at a thrift store], I would buy it because it was cheap,” she said. “One day, I woke up and realized I had about 50 pieces that I didn’t give away. I couldn’t fit [any of the items], so invited people over for a big sale at my house. After that, I just kept shopping, [and] I never stopped.”
Drammeh recalled the number of people who showed up to her sale, and she has since turned her hobby into a hustle. Most of her customers are people who like to thrift: women and some men between the ages of 24 and 50. She also has seen her customer base grow among the lesbian, gay, bisexual, transgender, and questioning and/or queer (LGBTQ) community.
Drammeh feels she offers her customers hope, as well as a sense of unorthodox style. The selections available at It’s Poppin! Vintage blends patterns, colors, and textures, but it’s about more than just selling clothes.
“It’s selling style, personality and character all in one,” she said, adding that her ultimate goal is to reduce the amount of money people spend on stuff.
“You spend money on a T-shirt that was made in a sweatshop by someone who was paid maybe 3 cents and can’t even feed their family. [Manufacturers] use gallons and gallons of water to make the cotton,” Drammeh said. “It’s just stupid when you can get something that has stood the test of time and is still great.”
When it comes to pricing, Drammeh doesn’t try to match other retailers. She takes a few things into consideration: her time, the clothing selection, and the era in which the clothing was made.
Visit www.itspoppinvintage.com to not only shop but also check out Drammeh’s blog, which includes the history of some her pieces.
This article originally appeared in The Birmingham Times.
Black Press
Should You Have to Pay to Hear the Gospel?
ST. LOUIS AMERICAN — Pastor Philip Anthony Mitchell of Atlanta’s 2819 CHURCH and Tim Timberlake of Celebration Church in Jacksonville, Florida, are at the center of a social media debate. The controversy stems from ticket prices for their “Street Preachers” podcast tour, with general admission tickets reportedly costing around $60 and VIP options up to $200.
For generations, the Black church has passed the offering plate to keep the lights on, pay the preacher, help the poor and carry the Gospel beyond its walls. But what happens when the preacher leaves the sanctuary, takes a popular Christian podcast on tour — and charges admission?
That question has placed Pastor Philip Anthony Mitchell, founder and lead pastor of Atlanta’s fast-growing 2819 CHURCH, at the center of a heated social media debate.
Mitchell and Tim Timberlake, senior pastor of Celebration Church in Jacksonville, Florida, host “Street Preachers,” which its official website describes as a “raw, unfiltered podcast” committed to spreading the Gospel.
‘A brood of vipers’
The controversy began after ticket prices for the podcast’s 2026 tour circulated online. General admission tickets reportedly cost about $60 before fees, with premium options, including a VIP meet-and-greet package, priced at $200. Critics questioned whether ministers should charge people to hear the Gospel.
Others defended the pastors, arguing that Christian events require venues, transportation, security, equipment and staff.
Mitchell answered critics from the pulpit last month, calling them “a brood of vipers.” He said the podcast is a separate, personal project and that neither his church nor Timberlake’s is bankrolling it.
“Now we have decided to go on a tour to take the gospel to cities, and because that’s not funded by 2819, and it’s not funded by Celebration Church, Tim and I gotta do that with our own pockets,” Mitchell said. “It’s why there is tickets. We have to pay for venues and security and productions and staff from our own pockets.”
Mitchell called some critics “ignorant” and said they did not know that a child was healed through faith during one of the events.
“And you want to complain about a 60 ticket?” he said. “So hate on!”
Worship service vs. media event
Mitchell maintains that “Street Preachers” is an independently produced podcast tour, not a worship service, and that ticket revenue helps cover production costs.
Yet the presence of pastors, Scripture and Gospel language makes the distinction less clear to some believers.
The official tour website lists all eight 2026 stops as sold out. Promotional material announcing additional dates promised, “Better ticket options. Same Gospel. Same move of God.”
Corporate prayer gathering
The language gets to the heart of the dispute. Some Christians argue that no one should be kept outside because they cannot afford a ticket. Others say the Gospel remains free even when people pay for the venue and experience surrounding its presentation.
The paid podcast tour, however, is not Mitchell’s only large-scale gathering. On Oct. 10, 2819 CHURCH will host “ACCESS — That Powerful Hour of Prayer” at AT&T Stadium in Arlington, Texas. Admission is free.
2819 CHURCH has said 80,000 free tickets were claimed before registration reopened.
The contrast raises another question: What makes one Gospel-centered event a ministry supported by donors and another a production supported by customers?
Unfiltered preaching, youth appeal
Mitchell’s congregation, composed largely of young Black adults, grew from fewer than 200 weekly worshippers in 2023 to about 6,000, according to the church. Some worshippers arrive before sunrise to secure a place inside.
His appeal rests partly in an intense, vulnerable and raw preaching style.
“I’m preaching without watering that down, without filtering out things that we think might be too controversial,” Mitchell told The Associated Press.
That visibility has also brought scrutiny of his theology, associations, travel, security and the businesses surrounding his ministry.
But the controversy reaches beyond Mitchell and Timberlake. Christian music concerts charge admission. Seminaries charge tuition. Religious publishers sell Bibles, books and devotionals. Churches pay musicians, media teams and guest preachers. Money becomes particularly uncomfortable, however, when an event is presented simultaneously as ministry and entertainment.
Ministry vs. entertainment
Supporters should not assume every dollar collected becomes personal profit. Critics, however, question whether lower-cost seats, sponsored tickets or free admission for people who cannot pay should be part of a Gospel-centered event.
The Black church always has required resources for ministry. It also has carried a sacred responsibility to make room for people with little or nothing to give.
The sold-out “Street Preachers” tour shows people are willing to pay to attend. The free ACCESS gathering offers a different model. The challenge is preserving that open door as Christian ministry increasingly adopts the machinery — and economics — of popular entertainment.
The post Should you have to pay to hear the Gospel? appeared first on St. Louis American.
Based on reporting by St. Louis American.
Black Press
OP-ED: Proposition 44 Would Put a Price on Trust
The danger in Proposition 44 is not only its 90 percent figure. It is that the meaning of “qualifying” spending will be worked out later. A clinic preparing a budget today may not know whether a navigator, health educator, transportation program, outreach worker, technology upgrade, or other patient-support service will be counted the way it expects. Yet the financial consequence of getting it wrong could be immediate.
Black Press
OP-ED: Proposition 40: It’s Time to Play Chess, Not Checkers
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Black Press
Master P Encourages Norwood Elementary Students to Dream Big, Work Hard
BIRMINGHAM TIMES — Music mogul Percy Miller, known as Master P, visited Norwood Elementary School on Friday alongside his mascot sidekick, Captain Ace. Teachers and students, dressed in school colors, welcomed Miller, who shared lessons on education, consistency, networking, and the importance of not letting circumstances define one’s future.
Music mogul Percy Miller, better known as Master P, visited Norwood Elementary School on Friday with his mascot sidekick, Captain Ace. (Birmingham City Schools) ”
The sounds of students singing filled Norwood Elementary School Friday morning as teachers dressed in camouflage and students wearing their school colors of green welcomed a special guest whose career has been built on music, entrepreneurship and perseverance.
Before taking the stage at the Birmingham-Jefferson Convention Complex (BJCC) Friday night, music mogul and entrepreneur Percy “Master P” Miller spent the morning with Birmingham students, sharing lessons about education, consistency, networking and the importance of refusing to let circumstances determine their futures.
Miller was joined by Captain Ace, the blue-dog mascot and educational character associated with his school visits and assemblies. Together, they turned the celebrity appearance into a lesson centered on positive choices, learning, and believing in one’s potential.
The visit also brought together Birmingham city and school leaders, including Mayor Randall L. Woodfin, Birmingham City Schools Superintendent Dr. Mark Sullivan and members of the school system’s staff and leadership.
At the conclusion of the assembly, Woodfin and Sullivan presented Miller with a proclamation honoring his visit to Norwood Elementary.

For Miller, however, the morning was less about recognition and more about the children sitting in front of him.
“I love the kids,” Miller told the students. “Even though I got a show, I’m like, no, I got to come and touch the kids because that’s the future.”
Miller said his focus is on what he described as “saving the next generation” and educating young people so they can recognize their potential.
“I want these kids to know that they can fly over all this negative,” he said.
That message became personal when Miller reflected on his own childhood.
He told students he grew up living with his grandparents, who had 12 children. His family lived in a three-bedroom housing project, but Miller said he refused to allow his circumstances to define what was possible for him.
“I didn’t let my condition stop me, and I don’t want you guys to let your condition stop you,” he told the students.
Miller repeatedly returned to the idea that dreams require action.
“There’s no limit to your dreams,” he said, emphasizing that success requires work and that students cannot “cheat the game of life.”
He then asked the students how many of them wanted to be successful. The room responded.
Miller used a familiar example to explain one of his central lessons: McDonald’s.
After asking students what the restaurant sells, he shifted the conversation from hamburgers to consistency.
“McDonald’s is selling consistency,” Miller said.
He explained that a Big Mac is expected to taste the same wherever it is purchased, using that familiarity as an analogy for persistence.
“Keep doing something, not giving up,” he told the students. “Keep chasing your dreams, doing something every day to get that, even when it don’t look like it’s gonna happen.”

“Somebody’s gonna make it big.”
Miller also challenged the students to think about the relationships they are building now. He asked whether they understood what networking means before explaining that the people sitting beside them today could become important figures in their lives tomorrow.
Miller shared a story about a girl he knew when he was in school — someone he said other people did not like or treated negatively. Years later, she became a bank president. When Miller needed a loan, he said, she remembered how kind he had been to her when they were younger.
“You never know who’s gonna be what in here,” Miller said.
He encouraged students to introduce themselves to others, learn their names and treat people well.
“That’s networking,” he said.
For Miller, the lesson went beyond professional connections. He encouraged students to recognize the possibility within one another.
“Who’s gonna be a doctor? Who’s gonna be a lawyer? Who gonna be a teacher?” he asked. “Who gonna be the president of the bank? Who gonna be the mayor? Who gonna be the superintendent?”
Miller said students cannot know where their classmates will end up, which makes how they treat one another today important.
“Somebody’s gonna make it big,” he said. “And it could be all you guys.”

Moments of Celebration
The visit was also filled with moments of celebration. Before Miller addressed the students, Norwood teachers and scholars welcomed him with a robust singalong to “The Affirmation Song,” creating an energetic introduction to the morning’s message.
The appearance of Captain Ace added another layer to the program. The character is part of Miller’s educational work with children, with school assemblies and musical programs addressing topics including anti-bullying, stranger danger and mental health awareness.
Miller said he has spent years making time for young people because he sees them as the future.
The message aligned with the presence of Birmingham’s education and civic leadership throughout the morning. Woodfin and Birmingham City Schools leadership have increasingly emphasized connecting children with educational, enrichment and career opportunities across the city. Earlier this year, the city announced its Children and Youth Commission’s Cradle-to-Career Roadmap, a strategy designed to connect the systems and resources influencing children from early education through adulthood.
For Norwood students, however, the morning offered a more immediate lesson: the opportunity to see someone who built a career from a childhood that did not necessarily predict the future he ultimately created.
As Miller prepared to leave, he encouraged students to keep working, keep learning and keep believing in themselves.
“I kept going,” he told them, reflecting on the people who once told him he would not succeed. “That’s what I want you guys to do. Keep going, no matter what your conditions is. No matter what your environment is.”
Based on reporting by Birmingham Times.
Black Press
Latanya Orr Expands Vision After Goldman Sachs Program
CHICAGO CRUSADER — Chicago entrepreneur LaTanya Orr has completed the Goldman Sachs One Million Black Women: Black in Business program, an experience she states has refined her business growth strategies and deepened her commitment to supporting women entrepreneurs. Orr founded The FoundHERS Suite, a collaborative space for women business owners.
Chicago entrepreneur LaTanya Orr has graduated from the Goldman Sachs One Million Black Women: Black in Business program, a milestone she says has helped sharpen her approach to business growth while expanding her work supporting women entrepreneurs.
Orr, an author and business strategist, is the founder of The FoundHERS Suite, a collaborative workspace and entrepreneurial community designed to help women business owners develop their companies through education, connections and shared opportunities.
She participated in the Spring 2026 cohort of Goldman Sachs’ Black in Business program, which provides business education and resources to Black women sole proprietors. Orr said the experience strengthened her understanding of enterprise growth, financial stewardship and long-term business strategy.
“The program didn’t hand me a blueprint—it challenged me to rethink the one I already had,” Orr said. “It strengthened my thinking around enterprise, stewardship, and long-term impact while reaffirming the work I’ve been called to do.”
Her participation in the program came during a period of transition for The FoundHERS Suite. Earlier this year, an unexpected incident involving the building where the Suite operated forced the business to temporarily close its physical location.
Rather than abandon the concept, Orr said the interruption provided an opportunity to reassess how the organization could continue serving women entrepreneurs while she considered the future of the physical workspace.
Part of that evolution is BridgeWRX, Orr’s strategic advisory and thought leadership platform. The venture is designed to help women entrepreneurs move beyond developing brands and focus on building sustainable businesses through strategy, leadership development and intentional growth.
Orr emphasizes that BridgeWRX is not intended to replace The FoundHERS Suite. Instead, she sees it as an extension of the broader mission, providing additional ways for entrepreneurs to receive information, build relationships and strengthen their businesses while she explores the Suite’s next chapter.
Since completing the Goldman Sachs program, Orr has expanded that work through strategic advisory services, educational programs, publishing and community-centered initiatives.
Among those efforts is ShiftShop, a workshop series focused on practical business development. Another initiative, Gather & Shift, brings entrepreneurs together for networking, collaboration and shared learning.
Orr is also developing an editorial component to her work. Through The Bridge, her Substack publication, and HERspectives, a LinkedIn thought leadership series, she writes about entrepreneurship, leadership, business growth and the challenges established founders encounter as they attempt to move from operating individual businesses toward building larger enterprises.
Her developing BridgeWRX Leadership Library is expected to include books, tools and other resources drawn from more than two decades of Orr’s experience as an entrepreneur.
“I’ve come to realize that the assignment was always bigger than the building,” Orr said. “BridgeWRX allows me to extend the mission of The FoundHERS Suite in new ways while continuing to prepare for its next chapter. My passion has always been helping women discover what’s possible, build with intention, and create something that lasts.”
The Goldman Sachs One Million Black Women initiative was launched as part of the financial institution’s broader effort to invest in Black women and address economic disparities. Black in Business focuses specifically on Black women sole proprietors, providing participants with business education, access to resources and opportunities to develop strategies for growth.
For Orr, completing the program comes as she works to bring several parts of her entrepreneurial experience under a broader strategy.
Through BridgeWRX, she plans to continue offering advisory services, educational experiences, publishing and community programming. At the same time, Orr said she remains committed to The FoundHERS Suite and its original goal of creating opportunities for women entrepreneurs to connect and grow.
The result, she said, is an expanded vision centered not simply on operating a business, but on helping entrepreneurs create enterprises capable of producing long-term impact.
Based on reporting by Chicago Crusader.
Black Press
Students from Stonecrest Help Families Grow Food
THE CHAMPION NEWSPAPER — Two Georgia college students from Stonecrest are utilizing agriculture, technology, and community education to help families across Georgia grow their own food, even without traditional farming spaces. Mason Wright, a Morris Brown College student and founder of Plant It Georgia Vertical Institute, and Kosey Henley, a University of Georgia student, developed a mobile agricultural laboratory.
Two Georgia college students from Stonecrest are combining agriculture, technology, and community education to help families throughout Georgia grow their own food — even those without access to traditional growing spaces and equipment.
The two students recently completed the first prototype of Plant It Georgia’s mobile agricultural laboratory, which they said is an enclosed trailer equipped to introduce young people and families to growing food without relying on traditional farmland.
Mason Wright—a youth entrepreneur and a student at Morris Brown College—is the founder of Plant It Georgia Vertical Institute. The institute is an “educational initiative created to train young people in vertical farming, hydroponics, and other modern agricultural technologies,” according to Wright. Kosey Henley, a student at the University of Georgia, worked alongside Wright on the mobile lab.
The students said the idea came in response to an obstacle challenging many communities: transportation. Instead of requiring students to travel to the Plant It Georgia Vertical Institute, the program can take its lessons and growing systems directly into neighborhoods, schools, recreation centers, and other community spaces to teach students and their families about growing food in urban communities.
Inside the prototype, visitors will find hydroponic growing channels, lighting, and other equipment that show them how plants can grow in controlled environments. The laboratory aims to support hands-on lessons covering seed germination, water circulation, plant nutrition, lighting, harvesting, and the technology used to manage indoor crops, according to Wright.
The project comes as Georgia and the nation face an aging agricultural workforce.
According to the U.S. Department of Agriculture’s 2022 Census of Agriculture, Georgia had 63,492 agricultural producers, but only 4,770 were younger than 35. Nationally, the USDA counted 296,480 producers younger than 35, approximately 9 percent of all U.S. producers.
At the Plant It Georgia Vertical Institute, students are taught that farming does not always require acres of open land or heavy machinery. Vertical farming allows crops to grow upward in stacked systems while hydroponics uses nutrient-rich water instead of soil to feed the plants. These tactics make food production possible in classrooms, buildings, trailers, and densely populated urban communities, according to Wright.
Plant It Georgia’s growing systems can cultivate lettuce, tomatoes, collard greens, peppers, and a variety of culinary herbs, according to the news release. Students are taught the entire growing process — from placing seeds into starter materials and monitoring water and nutrients to caring for mature plants and harvesting fresh produce.
The program also introduces participants to careers connected to agricultural technology, plant science, environmental sustainability, food systems, and entrepreneurship.
Wright’s role as a Morris Brown College student and founder represents the connection between HBCU leadership, entrepreneurship, and community service, according to a news release. Wright also made headlines for opening Mason’s Super Dogs in Stonecrest in 2020 — which he now also operates on the Atlanta Beltline’s Eastside Trail. Henley brings another important academic connection through the University of Georgia, one of the state’s leading institutions in agriculture and agricultural research, according to the news release.
For event locations and more information, follow Plant It Georgia on Instagram (@plantitGA).
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Based on reporting by The Champion Newspaper.
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