The Billie Holiday Monument on Pennsylvania Avenue commemorates the life and legacy of the famed "Lady Day" who was born as Eleanora Fagan in Baltimore on April 7, 1915.

Billie Holiday's childhood was difficult. Both of her parents were teenagers when she was born. In 1925, a ten-year-old Holiday was raped by an older neighbor and was sent to The House of the Good Shepherd, a Catholic penal institution (sometimes known as a "reform school") for Black girls. Holiday was held there for two years. After her release in 1927, she moved to New York City with her mother.

As a teenager, Billie began singing for tips in bars and brothels but soon found opportunities to sing with accomplished jazz musicians including Artie Shaw, Benny Goodman, and Count Basie. She returned to Baltimore as a touring musician playing at clubs and restaurants along Pennsylvania Avenue. Unfortunately, after struggles with addiction and a sustained campaign of harassment by law enforcement, Holiday died on July 17, 1959 at age 44 and was buried in an unmarked grave at St. Raymond's Cemetery in New York City.

Planning for a statue in Baltimore began around 1971 as part of the urban renewal redevelopment of Pennsylvania Avenue and the surrounding Upton neighborhood. The original plans included both a statue and a drug treatment center in Holiday's honor but while plans for the center were dropped the Upton Planning Council continued to push for the sculpture.

In 1977, Baltimore commissioned thirty-seven-year-old Black sculptor James Earl Reid to design the monument. A North Carolina native, Reid recieved a master’s degree in sculpture from the University of Maryland College Park in 1970 and stayed at the school as a professor. Unfortunately, by 1983, rising costs of materials due to inflation led to a legal dispute between Reid and the city over payment and delays. The $113,000 eight-foot six-inch high bronze sculpture was unveiled on top of a cement pedestal in 1985 but Reid skipped the ceremony.

Reid's original vision was finally realized in July 2009 when the city found $76,000 to replace the simple pedastal with 20,000-pound solid granite base with incised text and sculptural panels. Inspired by one of Holliday's most famous performances, the haunting anti-lynching song "Strange Fruit," one of the two panels depicts a lynching. The other, inspired by the song "God Bless the Child," includes the image of a black child with an umbilical cord still attached in a visual reference to the rope used in the hanging. At the re-dedication in 2009, Reid celebrated the completion of the work and the life of Billie Holliday explaining, "She gave such a rich credibility to the experiences of black people and the black artist."

Watch on this statue!

Union Baptist Church traces its origins to 1852 and a group of fifty-seven worshipers meeting in a small building on Lewis Street. It was the fifth oldest African American congregation in Baltimore and financed entirely by African Americans. The first pastor of the church was the Reverend John Carey. In 1866, the Lewis Street congregation merged with members of Saratoga Street African Baptist Church, forming Union Baptist Church. When Rev. Harvey Johnson arrived in 1872, he found a modest congregation of perhaps 270 members. 

Harvey Johnson’s dealings with the Maryland Baptist Maryland Baptist Union Association (MBUA) in particular, and with prejudiced white Baptists in general, served as a proving ground for his leadership and vision. He took the skills honed in the battle for equality among all Baptists and transfered those skills as he entered the fight for equaliy among all people. Johnson’s original cause of friction with the MBUA stemmed from its paternalistic approach to black people and black Baptist churches. Not only did black ministers categorically receive less pay than white counterparts, but black churches were slow to realize full and equal political priviledges within the state denomination governing apparati. This problem was more troubling once, thanks in no small part to Johnson himself, black numbers in the state’s Baptist churches began grow. By 1885, Union Baptist's membership surpassed two thousand members for the first time.

Rev. Johnson's response to this discrimination was two-fold: economic independence and institutional autonomy. This situation exploded throughout the 1890s as Johnson urged black congregations to free themselves of white purse strings, and to get out of the Union Association altogether. One of Rev. Johnson's most controversal speeches brought this issue to fore. In September 1897, speeking in Boston, Johnson made, "A Plea For Our Work As Colored Baptists, Apart From the Whites." Johnson called for black Baptists to move as a group toward self-determination.

The Union Baptist Church’s Gothic design features stained glass windows created by John LeFarge, the renowned artist known as the inventor of the art of using opalescent stained glass.