Hey loves! My name is Tanaija Kee, and I am a senior journalism major with a minor in Spanish from California. It is an honor to contribute to 101 Magazine and be part of a team committed to telling meaningful, culturally rich stories.

This spring, 101 Magazine proudly presents our Spring 2026 issue, “Soundwaves.”

This issue is rooted in a central idea: understanding where music comes from. Soundwaves explores the origins of sound—tracing music back to the communities, cultures, and histories that shaped it. From genres born out of struggle and resilience to sounds created in celebration and joy, this issue highlights the foundations of music as we know it today.

Our writers take you on a journey through the roots of different musical styles, examining not only how they began but how they have evolved over time. These stories center on the people, places, and moments that gave music its voice, emphasizing that every beat carries history.

Through in-depth reporting and multimedia storytelling, our team worked to connect the past with the present, showing how the origins of music continue to influence today’s soundscape.

We hope that as you explore Soundwaves, you gain a deeper appreciation for the histories behind the music you hear every day.

Lastly, thank you for your continued support of 101 Magazine. We are proud to share this issue with you and hope you enjoy it as much as we enjoyed creating it.

Editor-In-Chief: Tanaija Kee

Managing Editor: Morgan Knight

Creative Director: Briana Outlaw

The post 101 Magazine’s Spring 2026 Issue: Soundwaves appeared first on 101.

Nabee Samad performs a jazz standard as part of his vocal training at Howard University. (Tanaija Kee// 101 Magazine)

For many years now, Howard University has been seen as a launchpad where talent is nurtured and careers are created. However, for students these days who are working hard to become musical successes, the reality is that getting one’s foot in the door in the music industry is not as easy as landing a 9-to-5.

For Nabee Samad and Ana Milistis, both Howard University students, entry into the music industry follows two distinct paths. Although the institution provides education and community, the lives of these young singers make it clear that many obstacles determine access to opportunity and success.

According to the Bureau of Labor Statistics, a music career remains a highly competitive field, with many more musicians than job opportunities. Reports from the Recording Industry Association of America further confirm growth in the music production and distribution sectors, leading to increased competition among new artists.

Valerie Eichelberger, Associate Professor of Howard University’s Department of Music, said students will be successful in the field if they establish professionalism while studying.

“They must have the discipline to practice regularly, develop their voice or instrument, and be performance-ready so they can have successful auditions. Once they are known in the industry, they will be called upon more frequently.”

Nabee Samad wasn’t someone who joined school with prearranged industry connections. Samad’s first experience with music recording took place when he was seventeen, in a homemade studio during the pandemic, relying on instinct and confidence.

That confidence shifted quickly.

“Singing into a mic is different from singing out loud, you’re gonna hear yourself scratching places that you ain’t hear. You never knew your voice was scratching… your ego gets checked,” said Samad.

Samad performs “Moanin’” by Lambert, Hendricks & Ross, reflecting his jazz training. (Tanaija Kee// 101 Magazine)

What followed was a steep learning curve. Music became less about natural ability and more about technical understanding—learning chords, training his ear, and practicing consistently.

“I had a naive perspective towards music,” he said. “It’s a lot more to it than you would have expected.”

While at Howard, he received structure in the classroom and gained experience performing through his ensembles. However, when it came down to actually entering the industry, there seemed to be a disconnect.

“In a sense, they get you prepared for performances, but they don’t necessarily put you out there unless you’re probably like one of the best students,” said Samad.

Without consistent access to larger opportunities, Samad has relied on smaller gigs, either with the help of friends or by self-producing his music. 

“The sooner I get my music out, the sooner people can listen to it,” he said. “Then hopefully, sooner or later, I’ll pop up.”

Nabee Samad performs an original song he wrote in his first year. (Tanaija Kee// 101 Magazine)

In contrast to the experience at Howard University, students Samad and Milistis had prior exposure to their fields of interest. Although Milistis’ first experiences with music were in a religious context, her participation in the Duke Ellington School of the Arts in Washington, D.C. changed the course of her development.

“Most of that came from going to Duke Ellington,” she said. “Our department chair had a lot of connections, so that opened up a lot of opportunities.”

Ana Milistis performs with her senior vocal class from the Duke Ellington School of the Arts. (Tanaija Kee// 101 Magazine)

Having started along this path even before joining the university, Milistis is now preparing for an internship at NPR as an audio engineer and live sound technician.

“I’m working on learning how to run a radio station and mix live audio,” she said. “I have a summer internship at NPR here in D.C., so I want to be prepared and confident going into it.”

Ana Milistis performs while continuing to develop her vocal and technical skills. (Tanaija Kee// 101 Magazine)

She credits Howard with helping her further expand her network.

“Howard has helped me a lot with building connections, especially with other young Black artists,” she said.

Still, her progress reflects a key difference: she is building on access that existed before college, not starting from scratch. The difference between those students and others is that while some have talent, others bring experience and preparation even before coming to Howard University. This gap reflects a bigger truth regarding how the business works.

According to Chris Royal, Doctor of Musical Arts (D.M.A.) and Associate Professor of music at Howard University, students entering the field must understand the difference between the music industry and the broader entertainment industry, which can have different expectations regarding performance, presentation, and visibility.

“Jazz, Classical and other such music is primarily music performance. The entertainment industry may use music, film or anything, but often visuals are most important. In fact, one doesn’t have to actually perform music to be a music performer in the entertainment business, ” he said.

That distinction, he suggests, shapes how students are evaluated and what opportunities become available to them.

“Students need to consider the industry not by name but by expectations. Entertainers are worried about weight gain and actual skills. The music industry certainly cares about the presentation, but much has moved closer to entertainment as many performers look better on stage than how they actually sound,” he said.

The contrast between experiences highlights a broader issue within the idea of a “pipeline.” Both students are talented. Both are putting in the work.

Samad points to connections as the defining factor.

“Through your connections, you can learn a lot of things that your talent won’t get you,” he said.

Milistis sees it differently.

“I think talent is what leads to connections,” she said. “If you’re really strong in what you do, people will notice.”

The two provided their views on the industry, noting that it depends on preparation, exposure, and opportunity, which not all students have. The concept of a pipeline through which students can move from classroom success to the music industry is well established—there are steps to take to progress from the classroom into the business.

This kind of pipeline works for Samad and Milistis—and some other Howard University students—but for others, the reality is more complicated. Some have established connections based on their history, while others are only beginning to break into the field and have to learn not only how to make music but also how to enter an industry that doesn’t necessarily afford equal entry.

A pipeline exists at Howard University; however, for some students, it’s not a clear pathway; it is something they have to find, build, or fight their way into.

The post The Myth of the Howard Pipeline: Students Navigate Unequal Paths Into the Music Industry appeared first on 101.

Official movie poster for Project Hail Mary (Sydney Goitia-Doran/101 Mag)

Sci-fi book-to-movie adaptations often either boom or bust, with films like “A Wrinkle in Time” and the “Divergent” Series earning harsh criticism from book-lovers while franchises like “The Hunger Games” and “Dune” made great waves beyond the pages. This year, Project Hail Mary is the highest-grossing Hollywood film of 2026, proving once again that when done well, sci-fi adaptations are the way to film-lovers’ hearts.

Brought to life by directors Phil Lord and Chris Miller, the story follows Dr. Ryland Grace, a once-outcast scientist who has become a middle school science teacher, played by Ryan Gosling. When he awakes from a coma in outer space with parts of his memory missing, he must piece together who he is and his mission. 

The story alternates between the present, where Grace is on the ship, and his past on Earth, slowly revealing how he ended up there. The camera angles and use of music, sound and silent moments are intentional and unique in this film, with rotations in zero-gravity and deafening silence during space walks, immersing viewers in the scenes. The colors in the film are vibrant; audiences who recommended seeing this movie on the biggest screen possible made the right call, with jaw-dropping “Oppenheimer”-like moments.

Fans of Gosling will not be surprised to see the film is littered with comedy, reminiscent of the sarcasm and over-the-top drama he displayed in his roles in “Barbie” and “Crazy, Stupid, Love.” However, in more tender moments, he reveals an emotional, complex side of his character, which ties the storyline together. 

A main focus of the film is Gosling’s encounter with an alien he names “Rocky” and the friendship he forms with it. They learn to communicate without understanding each other, and eventually come to care for each other to the point of being willing to sacrifice their lives for one another. The simple trope of unlikely colleagues-turned-friends has been done countless times, but the film manages to make it feel new and tug at the heartstrings.

The use of Harry Styles’ song “Sign of the Times” is an example of what film adaptations can bring to a story that books can’t always do. Sandra Hüller, who plays Eva Stratt, sings it during karaoke before the team goes on a space mission that will certainly end in death. The passion in her voice and the lyrics match their situation and feelings almost perfectly. It was enough to make several people cry in the theater and inspire several edits on TikTok.

At times, it felt like the film was attempting to do too much. It was a comedy; a journey of self-discovery; commentary on government response to humanity-threatening issues like climate change; a story about friendship and learning to communicate with someone whose language you do not understand; and an action-packed sci-fi thriller.

A casualty of this was the ending, which perfectly tied everything in a bow. Grace saves the world and his friend, and has the option of staying with Rocky or returning to Earth. Audiences familiar with Christopher Nolan’s ambiguous endings or the heartbreak of the Marvel Cinematic Universe may feel this movie’s struggle, dilemmas and all of its impossibilities might have felt more impactful with a more realistic ending. 

The film holds a 95% rating on Rotten Tomatoes, has rave reviews on Letterboxd and has become Amazon MGM’s highest-grossing movie ever — earning over $300.8 million worldwide and $164.3 million domestically in just two weeks.

The divergent storylines did not distract from the central themes of trust, hope, and what is worth living and dying for. That’s exactly what people need right now, which explains its success. 

The post Why Project Hail Mary is the Highest-Grossing Hollywood Film This Year so Far appeared first on 101.

Cover art for “Zavier,” Fetty Wap’s latest album released March 27, 2026.

After nearly three years in prison, Fetty Wap returned on March 27, 2026 with a new album, “Zavier,” arriving at a time when Gen Z’s nostalgia for the 2010s is stronger than ever. 

Across TikTok playlists, throwback parties and “2010s core” aesthetics, Gen Z has been recently revisiting the era that shaped their early memories of music. It was a period when music felt tied to real moments, from car rides to social media clips. 

Fetty Wap’s voice became part of that everyday soundtrack. 

With breakout tracks like “Trap Queen” and “679,” Fetty Wap helped define a sound that blended rap and melody in a way that felt easy to connect to. 

His music was instantly recognizable and tied to a specific cultural moment shaped by Vine clips, early streaming playlists and songs that spread quickly through social media. 

For many listeners, it represents a feeling rather than just songs. 

That is what makes his return so complex. 

While the anticipation surrounding the album is rooted in nostalgia, “Zavier” doesn’t fully replicate the sound that made him a household name. Instead, it reflects an artist who has changed. 

On songs like “Right Back To You” and “N LUV,” the melodies feel more restrained with a slower, more reflective energy than the explosive sound he was once known for. 

For listeners expecting a return to 2016, the difference is noticeable. 

However, that shift is not necessarily a flaw. It signals growth. 

Across various social media platforms like X and TikTok, listeners have been quick to share their reactions, many pointing out the shift in sound. 

“Fetty Wap really came back with that energy. Versatility was needed and he delivered. [It] feels like a fresh chapter,” one X user wrote in response to a post about the album. 

Fetty Wap’s new music carries the weight of time and experience. After years away from the public eye, his sound feels more grounded, less focused on chasing hits and more centered on expression. The carefree energy that once defined his music has been replaced with something more intentional. 

“With this whole project, it was like let me just try to be more of a creator than a creative. It was just me doing something different,” Fetty Wap said in an interview with iHeartRadio. 

Still, the tension between nostalgia and evolution is difficult to ignore. 

On TikTok, videos about the new album have resurfaced with mixed reactions in the comments. 

“[The album] disappointed me,” one user commented. “I guess I was expecting ‘old Fetty’ even though that was 10 years ago.” 

Gen Z’s current relationship with music is deeply connected to memory. The resurgence of early-2010s sounds is not just about preference but about comfort. Artists who defined that era are often expected to recreate it. When they don’t, the reaction can feel like disappointment, even when the music itself is solid.

Even if it doesn’t fully meet nostalgic expectations, “Zavier” is still worth listening to.

The album doesn’t just revisit Fetty Wap’s past, it expands on it, offering a new perspective on his sound and reminding listeners, especially Gen Z, that artists aren’t meant to sound the same forever. 

Ultimately, “Zavier” raises a larger question about how audiences engage with artists over time.

Do we allow them to grow or do we hold them to the versions of themselves that first made us fans?

The post From Nostalgia to Growth: Reviewing Fetty Wap’s New Era appeared first on 101.

A Musical Producer Hard At Work (Photo: pngtree)

A beat is more than just a beat. It’s currency, identity, and proof of work all wrapped into a few minutes of sound. For producers trying to break into the industry, selling beats online can feel like the easiest entry point. Upload, tag, lease, repeat. However, that same accessibility is also where the problems start.

The biggest issue is control. Once a beat leaves your hands, it rarely stays “yours” in practice. Someone downloads it, rips the tag, reposts it, and suddenly your work is floating around the internet with no credit attached. Even worse, it might end up on a track that blows up, and you’re left trying to prove ownership in a system that doesn’t always prioritize the producer’s voice.

It creates this constant tension between exposure and protection. You want your sound heard, but you also don’t want it stripped of your identity.

That’s where producer tags come in. Love them or hate them, they’ve become essential. A tag is more than branding; it’s a boundary. It’s a way of saying “this is mine” in a space where ownership can easily blur. For instance, Pharrell’s infamous 4 beats at the beginning of his produced songs signal that the production is his. Metro Boomin has “Metro!” shouted at the beginning of each of his productions. Even then, tags aren’t foolproof. They get edited out, mixed under the vocals, or drowned out by effects, especially among underground producers who do not have a legal team backing them. 

At the same time, selling beats has opened doors that didn’t exist before. Bedroom producers can now reach artists across the world, yet the system still feels uneven. Artists are often prioritized, while producers fight for recognition, fair splits, and basic credit.

In the end, selling beats is both an opportunity and a risk.” It’s freedom with no real fence around it. For many producers, the goal isn’t just to sell a beat. It’s to make sure that when it travels, their name travels with it.

The post When the Beat Leaves the Studio: Ownership, Tags, and the Fight for Credit appeared first on 101.

The TikTok logo takes up the phone screen. (Photo Credits: Flickr/Nordskov Media)

The modern music industry no longer begins in a studio, it begins on TikTok. For many artists, success is no longer defined solely by talent, but by whether a song can go viral in under 30 seconds.

Over the past few years, TikTok has become one of the most powerful tools for music discovery. Songs can go from completely unknown to chart-topping within days, driven by trends, dances, and user-generated content. For emerging artists, this has opened doors that once seemed impossible to access without major-label support. A single viral moment can bring streams, followers, and industry attention almost instantly.

Artists like Malcolm Todd show how powerful this pipeline can be. His music gained traction through TikTok, where snippets of his songs circulated widely and helped build a dedicated audience. A classic example of an artist who successfully did this is Malcolm Todd. His song “Roommates” went viral on TikTok. He would constantly spam a 15-second snippet of the song to tease it, then strategically leverage its virality by building a brand, riding the wave by putting out projects, interacting with fans, and staying consistent. Many artists fail to build a career out of virality because once they have a viral song, they stop there.

Moments like these show how the platform can accelerate exposure in ways that old-school and traditional promotion often cannot.

This shift has also changed how music is created. Artists are now typically thinking about how their songs will perform on TikTok while they are still in the studio, the instant-gratification factor, rather than taking people on a musical journey. There is growing pressure to create music that is easily “clip-able,” short, catchy, and immediately engaging. In some cases, the most important part of a song is no longer the full listening experience but the 15- to 30-second segment that can circulate online.

Is Virality beginning to replace artistry? 

While TikTok can launch careers, it does not always sustain them. Many viral hits struggle to translate into long-term success, leaving artists to chase trends rather than develop a consistent sound or identity. The platform rewards speed, frequency, and adaptability, which can make it difficult for artists to slow down and create more intentional and fully developed work.

At the same time, TikTok has changed how audiences engage with music. Listeners are no longer just consuming songs, they are interacting with them, remixing them, and reshaping how they are experienced. This level of participation has made music feel more accessible, but it has also shortened attention spans and shifted focus away from full projects like albums.

Still, TikTok’s influence cannot be ignored. It has democratized exposure in a way the industry has never seen before, giving independent artists a real chance to be heard. However, that access comes with new expectations and pressures that continue to redefine what success looks like.

For now, if a song doesn’t trend, it risks being overlooked. The real question is how long the industry can rely on virality before something deeper is lost.

Dylan Stinette, lead singer from the band DEBT, stated, “I don’t focus on TikTok virality; I care more about the process than quick results. I’m in it for the long run and the love of creating, because overthinking perception takes away from my authenticity.”

The post Is TikTok Still Running the Music Industry? appeared first on 101.

Maria Farmer’s art titled “The Setiles.” (Photo: Documentary)

The “Jeffrey Epstein: Filthy Rich” documentary does more than just retell the crimes of Jeffrey Epstein. It shows the elite’s sex trafficking and abuse system that allowed those crimes to continue for years. 

Through survivor testimonies, the series explains how Epstein used his wealth, influence, connections, and manipulation. Specifically, to cultivate an environment where young girls were exploited. One of the most important parts of the documentary is how it shifts attention away from Epstein himself and focuses instead on the women who experienced the abuse. This allowed their stories to shape the narrative.

Another key part of the documentary is its portrayal of the failure of major institutions. Law enforcement failures, legal loopholes, and Epstein’s powerful social connections all helped him avoid accountability for years. The series shows how money and status can influence the justice system and determine who is held responsible. 

By the end, the documentary feels less like a story about one criminal and more like an examination of how wealth and power can shield wrongdoing, while also showing the persistence of survivors.

One of the most powerful moments in the documentary is when Maria Farmer uses her artwork to visually expose the abuse network surrounding Jeffrey Epstein and Ghislaine Maxwell. 

Instead of only telling her story through interviews, she creates dark, symbolic paintings that depict powerful men as predatory figures operating within a hidden system. The art reflects how the trafficking operation functioned almost like a business, with structured routines, calculated recruitment, and a network designed to maintain control and efficiency. It was all structured, protected by wealth, and enabled by the elites: the people who hold the most power in the world. Her art becomes a form of testimony, translating trauma and corruption into something people can see and confront.

What makes the ending especially impactful is that it reframes the documentary from just a story about crime into one about survivor resistance and truth-telling. 

In 2016, Maria Farmer filed a federal civil lawsuit under the Victims of Crime Act against Jeffrey Epstein and Ghislaine Maxwell, alleging she was assaulted in 1996 and later intimidated by Maxwell. She had already reported Epstein to the Federal Bureau of Investigation and the New York Police Department in 1996, but no immediate action was taken, highlighting a major institutional failure that allowed the abuse to continue.

Farmer’s art exposes how exploitation is normalized within powerful environments and shows how survivors reclaim their narrative through creative expression. By ending with her work, the documentary suggests that exposing systems of abuse sometimes requires more than legal evidence; it can also come through cultural and artistic forms that force society to acknowledge what it tried to ignore.

The post Filthy Rich Review (Epstein Netflix Documentary) appeared first on 101.

Geno Auriemma and Dawn Staley share a moment postgame. (Photo Credit: The Guardian)

After the Final Four matchup between the South Carolina and UConn women’s basketball teams on April 3, 2025, the coaches on both teams shared a heated verbal moment. UConn coach Geno Auriemma has since released an apology regarding his actions after the incident. 

Dawn Staley, University of South Carolina women’s basketball coach, reached her hand out at the end of the game, while Auriemma did not. Instead, he said something to Staley that made her angry. The two were forced to be separated by other staff on the benches. 

The game was close until the very end, when South Carolina pulled away late to earn the victory 62-48. It is unclear exactly what Auriemma said during the altercation; however, he expressed his frustration with the officiating and believes his team was not being treated fairly. 

“There were six fouls called that [third] quarter, all of them against us. I got a kid with a ripped jersey and [the refs] claim that they didn’t see it,” Auriemma told ESPN.

Staley was caught off guard by the altercation and rejects any wrongdoing.

“I’m of integrity. So if I did something wrong to Geno, I had no idea what I did,” Staley said.

Staley also told the media that she did not want to focus on the incident because she felt it was taking attention away from her team’s big win, which they worked so hard for.

Auriemma released a statement apologizing for his actions, including “there’s no excuse how I handled the end of the game” and “I want to apologize to the staff and team at South Carolina.” 

Auriemma’s apology received backlash, as many fans believe he should have apologized to Staley specifically. His apology was also labeled as not genuine and accused of sounding “PR-ish” by comment sections on various social media.

Sportsmanship is an agreed-upon social norm in sports. Geno Auriemma’s outburst was seen as unnecessary and unprofessional by the media and viewers. 

Sometimes the refs and calls will benefit the other side, but it’s a game at the end of the day, and the other team’s players and coaches should always be treated with respect for how they played. 

While emotions can be high, there is an important distinction between passion or competitive fire and being disrespectful. 

Reactions on social media reflected disappointment in how Auriemma handled the situation, with users commenting, “Interesting that Dawn Staley is not specifically named in his apology,” “Just take the loss and move on,” “He couldn’t handle the defeat and was out of control” and “Poor display of sportsmanship.” 

“I don’t want what happened to overshadow what our team was able to accomplish,” Staley said. 

Given that both South Carolina and UConn are college women’s basketball powerhouses, there will almost surely be more matchups between the teams down the road. It remains to be seen how the two coaches will navigate their relationship in the future. 

The post Emotion vs Sportsmanship: Did Auriemma Take it Too Far? appeared first on 101.

Howard University defeats UMBC in the first four of the 2026 NCAA Tournament. (Photo Credit: WTOPNews)

The Howard University men’s basketball team has made the NCAA Tournament three times in the past five years, but the effects of their success are more than just playing for a national championship.

For small schools, being an underdog and pulling off an upset in the tournament is part of the March Madness appeal. The benefits are more than just bragging rights; Howard and other similar schools also receive national television exposure, financial incentives and recruiting advantages. 

Money Payouts

The NCAA pays conferences based on how well they do in the tournament. Each win for a team in that conference is worth hundreds of thousands of dollars, which is paid out over multiple years. The entire conference then shares that money to help build new facilities, fund scholarships, etc.

“The distribution of tournament revenue is a critical part of how we support conferences and schools across Division I,” said Dan Gavitt, the NCAA’s vice president of men’s basketball. 

Smaller conferences usually only have one team that makes the tournament each year. For example, Howard University, a member of the MEAC conference, won a tournament game this year. As a result, the entire MEAC conference will benefit financially. 

National Exposure

All NCAA Tournament games are broadcast on major TV networks, including CBS, TNT, TBS and TruTV. In 2021, tournament games also began streaming on HBO Max and Paramount + after the NCAA reached a deal with CBS Sports and Warner Bros. 

Schools that are members of smaller conferences barely get any TV exposure throughout the season, but when they make the tournament, they are aired on well-known stations. Additionally, if they upset a top-seeded school, everyone will see it. 

“This is what you dream about… everybody watching,” said Jack Gohlke, who led Oakland University to an upset win over Kentucky in the 2024 NCAA Tournament. 

National exposure increases opportunities for branding and recruiting. 

Recruiting

Many ball players hope to attend the most prestigious school they can. This is why the NCAA Tournament is important: players who may have dismissed attending smaller schools can see them compete against the nation’s best and not only compete but hold their own. 

In 2022, 15-seeded St. Peter’s University made it to the Elite Eight, a totally unexpected run from the Peacocks. 

“We’re showing that you don’t have to go to a big school to play on a big stage,” said St. Peter’s star guard Doug Edert.

 Making the tournament just once can bring in higher-level talent for the future. 

Institutional Impact 

The national exposure from playing in an NCAA Tournament game not only affects the basketball team but also the school itself. Just seeing the school on TV can lead to an increase in applications for other students, even if they are not athletes. 

Alumni who are not involved with their school may return to show school pride after a successful tournament appearance, with increased donations and social media promotion. 

“People had never heard about our school just two days earlier,” said Ryan Odom after UMBC’s 2018 tournament run. 

The post From Underdogs to Spotlight: The Effect of March Madness appeared first on 101.

The Potomac River in 2023, clear of the sewage flooding that occurred on Jan. 19, 2026. (Photo courtesy of Santeri via Unsplash)

Millions of gallons of sewage spewed into what is known as the ‘Nation’s River’ in mid-January when a pipe burst, causing political tension, foul-smelling water and a lengthy cleanup process.

The Potomac River is a primary water source for over 6 million people in the D.C. area, and a national landmark. When the Potomac Interceptor pipe collapsed, it released over 200 million gallons of sewage into the river.

“The [Potomac Interceptor] carries about 60 million gallons of wastewater daily from as far away as Dulles Airport to the Blue Plains Advanced Wastewater Treatment Plant in Southwest DC for treatment,” said a press release from DC Water. 

Contamination was most concentrated at the spill site. The drainage channel near the overflow reached 5,400 E. coli bacteria on Feb. 28, and levels remained in the 2,000s in early March. While drinking water was unaffected, recreational water activities were placed under advisory, cautioning people from activities including kayaking, stand-up paddleboarding and boating. The highest reading was about 13 times over the safe swimming limit of 410, but this didn’t change anything for D.C. residents who have been prohibited from swimming for decades.

The problems went beyond the sewage itself. In late February, President Donald Trump approved emergency assistance to help with river cleanup, sending in the Federal Emergency Management Agency. On social media, he blamed Democratic local officials for not solving the problem sooner, making the spill a partisan issue and calling the spill a “Democrat caused disaster.”  

“This is a Radical Left-caused Environmental Hazard,” Trump wrote in a Truth Social post. “With all of their talk about carbon footprints and everything else, they’re allowing hundreds of tons of sewage to pour into the Mighty Potomac, making it much less mighty.”

Trump also took the opportunity to point a finger at Maryland’s Governor Wes Moore, calling him incompetent for not responding to the spill. 

“There is a massive Ecological Disaster unfolding in the Potomac River as a result of the Gross Mismanagement of Local Democrat Leaders, particularly Governor Wes Moore of Maryland,” Trump wrote in another post.

These posts came about a week after Trump announced Moore would be one of two governors not invited to a formal meeting and dinner at the White House as part of the National Governors Association’s annual conference. 

Moore’s administration rejected the claims that Maryland’s government was at fault or insufficient in its response to the pipe rupture. 

“Maryland officials were on site within hours of the leak to do our part to coordinate the response, and ensure the public was aware and protected,” said spokesperson Ammar Moussa in a statement.

D.C. Water hosted community meetings at the end of February in both D.C. and Maryland to provide updates on progress and answer questions from the public. 

According to D.C. Water work to reroute wastewater from the collapsed section of the pipe back to its original path was immediate. On Tuesday, March 17, DC Water released public inspection records and announced that the repairs were complete. However, the cleanup continues and is expected to take months.

The post Sewage Spill Fouls the Potomac, Prompting Health Advisories and Cleanup appeared first on 101.