In a neighborhood where conversations about food insecurity often center on scarcity, Philadelphia’s Tindley Tea Cafe offers a different narrative: abundance with purpose.

Located inside the educational building of historic Tindley Temple United Methodist Church in South Philadelphia — named after a pioneering Black minister, scholar, and theologian — the cafe is a popular brunch destination. Freshly prepared meals, live jazz, local artwork, and a welcoming atmosphere draw foodies from across the city.

But behind every reservation, every cup of tea and every plate served is a singular mission. The profits from Tindley Tea Cafe help fund a ministry that feeds neighbors experiencing hunger.

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Pioneering Namesake

Vicki Baker, business manager for Tindley Temple and a retired educator, says the cafe is the brainchild of Pastor John T. Bryce, the temple’s lead minister.

Two years ago, Bryce and church leaders realized two things about food in their community. First, they recognized that few quality, sit-down dining options existed in the neighborhood south of South Street — a majority-Black community that had suffered from underinvestment and been overlooked for decades. They also noted that hunger was a big problem in the community.

“We decided as a leadership team that we wanted to select people that we could bless in some way every month,” Baker told Word In Black in a recent interview. “So we chose those with food insecurity.”

Rather than simply opening a restaurant, Baker says, Tindley’s brain trust repurposed underused church space into a community gathering space with music, art, and food good enough to entice Philadelphia’s foodies. It then paired that enterprise with a mission to provide free, high-quality meals to the hungry—what could be called the church’s “food ministry.”

We decided as a leadership team that we wanted to select people that we could bless in some way every month. So we chose those with food insecurity.”

Vicki Baker, Business Manager, Tindley Temple

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“Tindley Temple’s soup kitchen actually started in the 1920s under Dr. Tindley and had run continuously until the pandemic,” Baker says, referring to the church’s program to feed the homeless and food-insecure. “We wanted to bring it back, and one of the ministries the cafe supports is that soup kitchen.”

Proceeds from Tindley Tea Cafe help support the church’s twice-weekly soup kitchen, which resumed full operations after the pandemic and now serves dozens of people each Tuesday and Thursday evening. The ministry has expanded through partnerships with local organizations, grants addressing food insecurity, and a growing network of volunteers who sign up online to prepare and serve meals.

Art, Jazz, Legacy

The cafe itself reflects the church’s commitment to community.

Artwork showcases Philadelphia artists, and tables feature musical scores honoring the legacy of Tindley, a formerly enslaved man who taught himself scripture and wrote hymns. Visitors often arrive because they’ve heard about the food, only to discover the history of one of America’s most remarkable pastors and influential Black churches.

That history continues to grow. Tindley Temple recently completed construction of the Charles Albert Tindley Legacy Preservation Center, an archive and exhibition space designed to preserve nearly two centuries of church history while introducing new generations to Tindley’s life and ministry.

Word In Black’s interview with Baker has been edited for length and clarity.

Word in Black: What’s your position with the cafe?

Vicki Baker: So I am the business administrator, business manager for the church. So I do a little bit of everything, in everything. I don’t run the cafe, but through the beauty of technology, the church’s phone rings on a special phone that I have, so we never have to miss a call. I do get a lot of calls for bookings at the cafe or even if people just want a reservation.

WIB: How did the idea for Tindley Tea Cafe come about?

Baker: About two years ago the cafe opened. When Pastor John [Bryce] looked at what was available in South Philadelphia as far as eating establishments, we found that when you got south of South, there weren’t a lot of places. We thought this is an area where we could provide service.

The building that it’s in is the educational building. It was built in 1964. The floor where the cafe is was the general meeting room. Pastor Bryce and First Lady Ebony [Brice] really had the vision. They painted, brought in artwork from Philadelphia artists, and created a very comfortable space. It’s become a place for jazz, poetry, community meetings, worship and so much more.

WIB: Who’s doing the cooking? My foodie friend said the food was fabulous.

Baker: We have a team that works. There are two or three chefs, depending on the day, and sous chefs that do the prep. Food is made to order. It’s not pre-done or reheated or bought. They fix the food there and serve it.

WIB: Tell me how the cafe funds are used for the community.

Baker: We decided as a leadership team that we wanted to select people that we could bless in some way every month. So we chose those with food insecurity. The soup kitchen actually started in the 1920s under Dr. Tindley and had run continuously until the pandemic. We wanted to bring it back and one of the ministries the cafe supports is that soup kitchen.

WIB: How did the church rebuild the soup kitchen ministry?

Baker: When the [city transit] strike was being threatened and SNAP benefits were changing, we decided to push up our timetable to reopen the soup kitchen because we knew there would be a need.

We partnered with Broad Street Love to learn best practices. Through them we connected with Carversville Farm, which delivers meat and vegetables every week. Then the chef figures out the menu based on what arrives. We also received a grant from the District Attorney’s Office for food insecurity, which has helped us augment the ministry.

WIB: What would visitors see today that reflects Bishop Tindley’s legacy?

Baker: The soup kitchen is still his legacy. During his time, there was a soup kitchen, a clothes closet and people even slept in the sanctuary during the Depression and the Great Migration while they got established.

We’ve also just completed construction on the Charles Albert Tindley Legacy Preservation Center. We received a grant to build an archive and exhibition center. We have nearly 100-year-old artifacts that are now being preserved in a temperature- and humidity-controlled archive. We hope to open it in the fall so people can learn about Tindley’s life and the church’s history.

WIB: Why is it important to keep telling Charles Tindley’s story?

Baker: “Our children need to hear these stories because many of them don’t know who they are or who they’ve come from. They hear about famous people who hit it big, but they don’t always hear about the work and grit.

Charles Tindley taught himself to read and write. He taught himself Greek and Hebrew. He was born free, but because his mother died and his father was enslaved, he lived as a slave. That’s an amazing story. There’s nothing God can’t do. We want to keep telling that story.

Based on reporting by Seattle Medium.

Malachi Wright, a 24-year-old artist from the Chicago area, has created a new mural for Snoop Dogg’s ice cream brand, Dr. Bombay. Located near LAX, the mural is designed to attract the company’s ice cream taste testers. Wright graduated from UCLA with a B.A. in Design & Media Arts in 2024 and is currently completing a master’s degree in fine art at California State University Long Beach.

Wright is available for interviews before and during the mural’s unveiling on Saturday, August 29. The exact time of the unveiling is to be confirmed. He can discuss the meaning behind the mural’s design, his creative process, and what it has meant to work with Snoop Dogg and his son at this stage in his career.

The mural depicts Snoop Dogg driving a colorful convertible with his son, Cordell, and his dog in the back seat. Cordell is holding a Dr. Bombay ice cream cone. Wright depicts both Snoop Dogg and Cordell at age 29—Cordell’s current age—imagining father and son spending time together as peers. Both are looking toward the viewer to directly engage the audience.

The mural also features the words “Dr. Bombay, Snoop’s Hiring” in the top left corner and “Powered by Deel” in the bottom right corner. Deel is collaborating with Dr. Bombay to hire ice cream taste testers.

The project marks another chapter in Wright’s continuing creative relationship with Snoop Dogg and his family. While still in high school, Wright designed the cover for Snoop Dogg’s 2019 album, I Wanna Thank Me. He later collaborated with Snoop’s son, Cordell Broadus, on an NFT project and designed a mural for the rapper’s Dr. Bombay brand in Venice Beach.

This latest mural continues a creative relationship that has evolved alongside Wright’s career, from his beginnings as a young artist in the Chicago area to his established practice in Los Angeles.

The mural is a project of Golden Street, LLC, a company Wright co-owns with his brothers Amoz and Ira. Amoz and Ira, along with their close friend/artist Lamar Hawkins, who flew in from Chicago to collaborate on the mural.

Golden Street completed two other murals this summer —one for the Chicago Park District and the other for Harvey City Hall in Illinois. Golden Street’s work centers on creating meaningful experiences in public spaces through art, storytelling and community-driven projects.

The mural is located at The Coffee Company, a popular restaurant in Los Angeles’ Westchester neighborhood. Address: 8751 La Tijera Blvd, Los Angeles, CA 90045

Based on reporting by Chicago Defender.

NASHVILLE, Tennessee – During Gospel Music Heritage Month, the Spruce Street Baptist Church Music Department will present “Songspiration,” a worship service honoring one of the most influential and respected vocalists in the history of gospel music, Sir J. Robert Bradley. The special service will be held on Sunday, Sept. 13th at 11 a.m., honoring the late Bradley, recognizing his tremendous musical accomplishments, and officially naming the Sir J. Robert Bradley Choir Room. Area church leaders and the entire community are invited to attend.

Among service highlights will be video presentations featuring Bradley, special music, and a reception. The guest minister will be the Reverend Dr. Harmon E. Stockdale, Sr., former senior pastor of Spruce Street from 1975 to 1980.

“There have been so many incredible musicians and singers who have been a part of Spruce Street’s musical history and legacy, and Sir J. Robert Bradley is tops among them,” said Dr. Christopher A. Duke, SSBC Director of Music. “Bradley’s legacy in gospel music is undeniable, and during this month as we acknowledge the foundational roots and cultural significance of gospel music, there is no more fitting time than now to celebrate Bradley’s work and influence across the world.”

Born in Memphis in 1920, Bradley was known for his rich baritone voice and revered for combining a classical repertoire with African American spirituals. Gospel music legend Mahalia Jackson once said he was the greatest voice she had ever heard, “Nobody need mess with ‘Amazing Grace’ after Bradley gets through with it.”

Bradley toured across Europe and the Americas for nearly 70 years as a soloist and served as director of music for the National Baptist Convention USA. He became known as a favorite singer of civil rights leaders, including the Reverend Dr. Martin Luther King Jr. Throughout his career, Bradley recorded dozens of songs, starting with his first gospel single in 1950 on Apollo Records. Known as “Mr. Baptist,” he earned the title due to his high-demand performances at convention meetings, national touring with the Good Will Singers Quartet, and other gospel concerts and events. His impressive career further included opportunities to sing at Carnegie Hall, for the king and queen of England in 1955 and, in 1975, was knighted by President William Tolbert in Liberia.

He used his singing as a means of breaking down racial barriers. While whites would not listen to African American preachers, Bradley said, “[but] they would listen to me sing.” Consequently, he was able to break down some racial impediments across the South.

A dedicated member of Spruce Street Baptist Church, Sir J. Robert Bradley died on May 3, 2007.

Based on reporting by Tennessee Tribune.

Director Christopher Nolan’s anxiously awaited masterpiece, “The Odyssey,” arrived in New York for the star-studded world premiere which featured a massive 40-foot, roughly 8,000-pound replica of a Trojan horse, parked outside AMC Lincoln Square on Broadway & 66th Street in Manhattan, for the epic red carpet launch on Tuesday, July 14, 2026, which closed down three city blocks and drawing a large crowd of fans and onlookers who cheered the stars as they swaggered down the plush red carpet before entering the iconic theater.

Nolan and his wife and co-producer Emma Thomas were joined by cast members Charlize Theron, Matt Damon, John Leguizamo, Anne Hathaway, Samantha Morton, Elliot Page, Jon Bernthal, Logan Marshall-Green, Benny Safdie, Lupita Nyong’o, Himesh Patel, Corey Hawkins, Zendaya, Tom Holland, and Travis Scott to see one of the greatest mythical films of all time!

From Universal Pictures comes a magnificent masterpiece about Greek mythology by a brilliant veteran visionary in the film industry. One of the cornerstones of Western literature is believed to have been composed nearly 3,000 years ago, and is traditionally attributed to the poet Homer. “The Odyssey” is Nolan’s big-budget adaptation of the epic Greek poem of the same name, shot across the world for the first time using brand-new IMAX film technology. The film’s wide theatrical and IMAX released on July 17, 2026, has garnered staggering acclaim and early Oscar buzz.

Set in and around the Mediterranean Ancient World, the poem and the film follow Odysseus, the heroic king of the Greek kingdom of Ithaca. After fighting in the Trojan War, Odysseus begins the journey home to his wife Penelope and son Telemachus, but the meddling of the Gods and a series of adventures with sirens, cyclops, and more turn his trip home into a 10-year fight for survival and a struggle to reclaim his kingdom from those who seized it in his absence.

“The Odyssey” features an ensemble cast, including Matt Damon as Odysseus, Anne Hathaway as his wife, Penelope, and Tom Holland as Odysseus’s son, Telemachus. Lupita Nyong’o co-stars as the mythical Helen of Troy, and also plays Helen’s sister, Clytemnestra, and Zendaya as the Greek Goddess Athena. The supporting cast also includes Charlize Theron, Robert Pattinson, Jon Bernthal, Benny Safdie, Samantha Morton, John Leguizamo, and Travis Scott, making his acting debut as a palace bard.

The creative team behind “The Odyssey” includes writer, director, and producer Christopher Nolan, co-producer Emma Thomas, cinematographer Hoyte van Hoytema, composer Ludwig Göransson, and casting director John Papsidera. and more. (Production Photos courtesy Universal Pictures / Premiere Photos by Getty Images for Universal Pictures)

Based on reporting by Harlem Community Newspapers.

James Weldon Johnson was an educator, journalist, diplomat, lyricist, poet, and human rights activist best known as the writer behind “Lift Every Voice and Sing,” the timeless hymn celebrated as the Black national anthem. But he also used his writing to win the heart of the love of his life — Grace Nail Johnson.

James Weldon Johnson was born in Jacksonville, Florida, on June 17, 1871, to James and Helen Louise Dillet Johnson. Raised in a comfortable middle-class setting, James was encouraged by his mother, a public school teacher, to pursue intellectual and artistic interests. He attended Atlanta University, where he earned his bachelor’s degree in 1894. After graduation, he returned to Florida and served as a principal, founded a short-lived newspaper called Daily American, and eventually passed the Florida bar examination and worked briefly as a lawyer.

In 1902, James moved to New York, where he performed in a musical trio with his brother Rosamond and Bob Cole. He’d go on to write the lyrics to more than 200 songs. In New York, he also began making connections to influential members of the Black community, which led to the next stage of his career in diplomacy.

Around 1904, he met Grace Elizabeth Nail, the daughter of John Bennett Nail, a successful real estate entrepreneur. Love blossomed between James and Grace as the two exchanged letters over several years. In 1909, they got engaged, and on February 3, 1910, the two married at Grace’s parents’ home.

In the early years of their marriage, James served as American Consul. He was appointed by President Theodore Roosevelt and served in Central and South America from 1906 to 1913.

After his consular service, James joined the staff of the New York Age, which led him to become involved in the civil rights movement to fight racial prejudice and discrimination. He joined the NAACP in 1916 and later served as a field secretary, helping open new branches and expand membership. He also campaigned for a federal anti-lynching bill and spoke at the 1919 National Conference on Lynching. In 1920, Johnson became NAACP executive secretary, a position he used to fight against segregation and voter disenfranchisement in the South.

While fighting for justice, James was also honing his literary talents as a poet and writer. He influenced many younger writers of the Harlem Renaissance, including Langston Hughes, Claude McKay, and Countee Cullen.

Meanwhile, Grace was a civil rights activist and cultural patron in her own right, and her leadership helped shape and preserve the legacy of the Harlem Renaissance. She worked with the NAACP, participated in the historic 1917 Silent Protest Parade, and founded the NAACP Junior League in 1929 to inspire a new generation to get active in civic leadership. She was also a part of the Heterodoxy Club and many other African-American and feminist organizations. She supported and promoted African-American children’s literature, too.

In 1930, James retired from the NAACP to accept a teaching position at Fisk University, where he served until he died in an automobile accident on June 26, 1938.

After James’ death, Grace dedicated decades to preserving his legacy.

In 1941, she donated James’ papers to Yale University’s Beinecke Rare Book & Manuscript Library, establishing the James Weldon Johnson Memorial Collection.

The collection expanded to include the cultural, artistic, intellectual, and political contributions of prominent African Americans and became an invaluable archive documenting the Harlem Renaissance and Black intellectual life.

Motivated by her love for her husband, Grace Nail Johnson helped preserve some of the Black voices and stories that shaped American history and culture.

Built to Last: Share Your Love Story

What does lasting love look like? Maybe it’s handwritten notes tucked into lunch bags, dancing in the kitchen after a long day, praying together through hard seasons, or simply choosing each other again and again over the years. Whatever your story looks like, we want to hear it.

For years, the Birmingham Times has celebrated local couples and the love that binds them through our popular “You Had Me at Hello” column. Now, we’re looking for more inspiring stories of commitment, partnership, laughter, resilience, and romance.

Have you been married seven years or longer? Tell us the secret to your enduring love. No relationship is ordinary, and every couple has a story worth sharing. Your journey could encourage newlyweds, inspire singles, or remind readers that lasting love still exists.

Whether your love story began with a blind date, a high school romance, a chance encounter, or friendship that grew into forever, we’d love to feature it.

To be considered for a future “You Had Me at Hello” column or to nominate a couple you admire, email [email protected] with the couple’s names, contact information, and the number of years they’ve been married.

Based on reporting by Birmingham Times.

Aretha Franklin’s Amazing Grace remains one of the most extraordinary live recordings in American music history. Released in 1972, the album captured Franklin returning to her gospel roots and performing inside the New Temple Missionary Baptist Church in Los Angeles. The project brought together her extraordinary vocal talent, the spiritual foundation of her childhood, and the energy of a live congregation.

For Franklin, gospel music was never simply another musical style. It was deeply connected to her upbringing and family. Her father, Reverend C. L. Franklin, was a renowned Baptist minister, and the Franklin household was surrounded by some of the most important voices in gospel music. As a young girl, Aretha absorbed the emotional intensity, improvisation, call-and-response, and spiritual conviction that would eventually become hallmarks of her own legendary sound.

By the time Amazing Grace was recorded, Franklin was already an international superstar. She had transformed popular music with landmark recordings such as “Respect,” “Chain of Fools,” and “Think.” Yet rather than using the album to demonstrate her pop dominance, she chose to return to the church and create something deeply personal. The decision revealed another side of an artist who had spent much of her career moving between gospel, soul, R&B, pop, and other musical traditions.

The recording sessions took place over two nights in January 1972, with Franklin accompanied by the Reverend James Cleveland and the Southern California Community Choir. Cleveland, one of gospel music’s most influential figures, was an important presence in Franklin’s musical development. His collaboration with her helped create an atmosphere in which the performances felt less like a conventional recording session and more like an actual worship service.

The centerpiece of the album is Franklin’s interpretation of “Amazing Grace.” The hymn had been performed countless times before, but Franklin approached it with a combination of technical control and emotional vulnerability that made the performance unmistakably her own. Her voice rises and falls with the congregation, transforming the familiar words into a deeply personal testimony.

One of the most powerful elements of Amazing Grace is the relationship between Franklin and the choir. Gospel music thrives on interaction, and the album captures that dynamic beautifully. Franklin does not simply sing while the choir provides background vocals. The performers respond to one another, building intensity and creating the feeling of a shared spiritual experience. The congregation becomes part of the recording as well, applauding, responding, and participating in the music.

The album also demonstrates why Franklin was considered one of the greatest vocalists of her generation. Her voice could be commanding and thunderous one moment and intimate and fragile the next. She could stretch a phrase, alter a melody, improvise around a lyric, and turn a simple musical passage into an emotional climax. On Amazing Grace, those abilities are placed within a setting that allows her to explore them without the restrictions of a traditional studio recording.

Among the memorable performances is Franklin’s rendition of “Precious Lord, Take My Hand,” a song deeply associated with gospel tradition and African-American worship. Franklin approaches it with a reverence that makes the performance feel almost conversational. Her delivery illustrates how gospel music can communicate grief, hope, faith, and perseverance simultaneously, allowing a song to function as both music and testimony.

Another important dimension of Amazing Grace is its historical significance. The album arrived during a period of enormous social and cultural change in America. Black music was influencing the mainstream in unprecedented ways, while gospel traditions continued to provide spiritual and cultural grounding for African-American communities. Franklin’s decision to make such a prominent gospel album demonstrated that her connection to the church remained central even after she had become one of popular music’s biggest stars.

The album became a major commercial success, reaching No. 1 on the Billboard 200 and becoming one of the best-selling gospel albums of all time. Its success demonstrated that audiences were willing to embrace Franklin not only as the Queen of Soul but also as a deeply rooted gospel artist. The recording helped reinforce the connection between gospel, soul, R&B, and popular music and showed how much contemporary music owed to the church.

The legacy of Amazing Grace has continued long after its original release. In 2018, the documentary Amazing Grace finally brought the long-awaited concert film to audiences after decades of production challenges. The footage offered viewers an intimate visual record of Franklin at work, surrounded by musicians, singers, family, and worshippers. It provided another opportunity for new generations to understand the extraordinary power of the performances captured on the album.

More than five decades later, Amazing Grace still stands as an essential document of Aretha Franklin’s artistry. It captures a superstar stepping away from the expectations of fame and returning to the musical language that helped form her identity. The album is simultaneously a gospel recording, a portrait of a remarkable singer, and a celebration of faith and community. Above all, it reminds listeners that before Aretha Franklin became the Queen of Soul, she was a daughter of the church—and on Amazing Grace, she allowed the world to hear just how powerful that foundation truly was.

Based on reporting by The Positive Community.