San Francisco’s Fillmore District Looks Toward Its Next Heyday
Belva Davis Showed Me I Belong in Journalism
‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation
Voguing in the Bayview: Ballroom Culture Comes Alive With Joy at the Opera House
'A Pastor's Heart': How Rev. Amos C. Brown Shaped Faith in SF for Nearly 50 Years
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"slug": "san-francisco-fillmore-district-heritage-center-reopening",
"title": "San Francisco’s Fillmore District Looks Toward Its Next Heyday",
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"headTitle": "San Francisco’s Fillmore District Looks Toward Its Next Heyday | KQED",
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"content": "\u003cp>The sun was out in San Francisco on the Fourth of July, and the corner of Fillmore and Eddy was alive. People danced in the street as DJs spun; the Church of St. John Coltrane Band filled the air with spiritual jazz; and vendors lined the block.\u003c/p>\n\n\n\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n\n\n\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n\n\n\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n\n\n\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n\n\n\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n\n\n\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n\n\n\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n\n\n\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n\n\n\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n\n\n\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n\n\n\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n\n\n\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n\n\n\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n\n\n\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n\n\n\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n\n\n\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A community that refuses to give up\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n\n\n\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n\n\n\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n\n\n\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n\n\n\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n\n\n\n\u003cp>“Look at the Heritage Center,” she said. “It’s open. People are having hope again. We’re coming together and sticking together.”\u003c/p>\n\n\n\n\u003cp>Asked why she keeps showing up, she answered simply.\u003c/p>\n\n\n\n\u003cp>“I believe hope will prevail,” she said. “And we will all come together as one, and help each other and love on each other.”\u003c/p>\n\n\n\n\u003cp>The people who filled this building in its first life built a neighborhood.\u003c/p>\n\n\n\n\u003cp>The people filling it now are building one too.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\u003c/p>\n",
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" />\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n",
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"\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n",
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"\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n"
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"attrs": {
"text": "The Fillmore’s deep cultural legacy",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n"
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"innerHTML": "\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n",
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"\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n",
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"\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\u003c/p>\n",
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"\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" />\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n",
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"\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n"
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"blockName": "core/paragraph",
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"innerHTML": "\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\u003c/p>\n",
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"\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" />\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n",
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"\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n",
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"\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n"
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"blockName": "core/heading",
"attrs": {
"text": "Bringing life back to the Fillmore Heritage Center",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n",
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"\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\u003c/p>\n",
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"\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" />\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n",
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"\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n",
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"\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n",
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"\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n",
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"\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n",
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"\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\u003c/p>\n",
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"\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" />\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n",
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"\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n",
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"\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\u003c/p>\n",
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"\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"text": "A community that refuses to give up",
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"innerHTML": "\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n",
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"\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\u003c/p>\n",
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"\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n",
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"\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n",
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"\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\u003c/p>\n",
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"\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" />\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n",
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"\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Look at the Heritage Center,” she said. “It’s open. People are having hope again. We’re coming together and sticking together.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Asked why she keeps showing up, she answered simply.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I believe hope will prevail,” she said. “And we will all come together as one, and help each other and love on each other.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The people who filled this building in its first life built a neighborhood.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sun was out in San Francisco on the Fourth of July, and the corner of Fillmore and Eddy was alive. People danced in the street as DJs spun; the Church of St. John Coltrane Band filled the air with spiritual jazz; and vendors lined the block.\u003c/p>\n\n\n\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n\n\n\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n\n\n\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n\n\n\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n\n\n\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n\n\n\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n\n\n\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n\n\n\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n\n\n\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n\n\n\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n\n\n\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n\n\n\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n\n\n\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n\n\n\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n\n\n\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n\n\n\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A community that refuses to give up\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n\n\n\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n\n\n\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n\n\n\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n\n\n\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n\n\n\n\u003cp>“Look at the Heritage Center,” she said. “It’s open. People are having hope again. We’re coming together and sticking together.”\u003c/p>\n\n\n\n\u003cp>Asked why she keeps showing up, she answered simply.\u003c/p>\n\n\n\n\u003cp>“I believe hope will prevail,” she said. “And we will all come together as one, and help each other and love on each other.”\u003c/p>\n\n\n\n\u003cp>The people who filled this building in its first life built a neighborhood.\u003c/p>\n\n\n\n\u003cp>The people filling it now are building one too.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Belva Davis Showed Me I Belong in Journalism",
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"content": "\u003cp>\u003cem>Change is inevitable. Growth is optional.\u003c/em>\u003c/p>\n\u003cp>That was the spirit I carried as a young Black journalist in San Francisco, searching for direction. And it was \u003ca href=\"https://www.kqed.org/news/11962918/groundbreaking-journalist-belva-davis-dies-at-92\">Belva Davis\u003c/a> — the woman who became the first Black female television reporter on the West Coast — who showed me that growth in this field meant courage.\u003c/p>\n\u003cp>When I learned of Belva’s passing, I cried for two days. Every time I opened my phone, another tribute appeared — another announcement, another video. But one image cut through them all: Belva riding in a cage to the top of \u003ca href=\"https://www.facebook.com/groups/remembered/posts/2715996145268886/\">Sutro Tower\u003c/a> as it neared completion, reporting for KPIX from 700 feet in the sky.\u003c/p>\n\u003cp>That was Belva. Fearless. Unshakable. Rising.\u003c/p>\n\u003cfigure id=\"attachment_13982012\" class=\"wp-caption aligncenter\" style=\"max-width: 1615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED.jpg\" alt='A person leans on a desk in a TV studio with the words \"This Week in Northern California\" written on the wall behind her.' width=\"1615\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED.jpg 1615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED-768x951.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED-1240x1536.jpg 1240w\" sizes=\"auto, (max-width: 1615px) 100vw, 1615px\">\u003cfigcaption class=\"wp-caption-text\">Belva Davis, on the set of KQED’s ‘This Week in Northern California.’ \u003ccite>(KQED Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How we met\u003c/h2>\n\u003cp>I was working at 1300 on Fillmore when the neighborhood was buzzing — Yoshi’s Jazz Club next door; Black excellence walking through the door every night. I was proud to be there, but I knew I wanted more. That’s when Ave Montague, the PR powerhouse behind the San Francisco Black Film Festival, hired me. Through Ave, I met Barbara Rodgers, Pam Moore, Carolyn Tyler — and of course, Belva Davis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These were women who commanded Bay Area newsrooms. For the first time, I could see myself in them.\u003c/p>\n\u003cp>The last project Ave and I worked on together was Inauguration West, the official West Coast celebration of President Barack Obama’s inauguration. My sister called with tickets to D.C., and Ave insisted I go: “You’ll miss a good party, but you must go to that event.”\u003c/p>\n\u003cp>I went. When I returned, Ave had passed away unexpectedly. I was devastated. She was one of my mentors, and my bridge into this world. [aside postid='news_11962918']\u003c/p>\n\u003ch2>The tribute\u003c/h2>\n\u003cp>To honor Ave, I created a tribute video featuring the lives she touched. Among those was Belva.\u003c/p>\n\u003cp>I’ll never forget visiting Belva’s home for that project. She sat on her yellow floral couch, camera-ready. As we checked sound, I told her I had just finished her memoir and was floored by her account of covering the assassinations of Harvey Milk and George Moscone. My boss at the time — her daughter Darolyn — had been in City Hall that day.\u003c/p>\n\u003cp>Belva nodded gravely. “Oh my goodness, 1978 was a troubling year,” she said. She described getting the call, rushing to City Hall, watching terrified people run through the halls. “It was one of the most difficult tragedies I ever had to report,” Belva told me.\u003c/p>\n\u003cp>Then she looked me over with the kind of knowing smile only someone who had already endured the long road could give. “You should be a storyteller,” she said directly. “You’re smart and passionate, and you know your history.”\u003c/p>\n\u003cp>It was a simple phrase, but it hit like destiny.\u003c/p>\n\u003ch2>The nod\u003c/h2>\n\u003cp>Not long after, I volunteered at the Palace of Fine Arts, where Belva was interviewing Condoleezza Rice. I was managing the photo line. As the room cleared, Condoleezza invited me to join her for a picture.\u003c/p>\n\u003cp>I froze. I looked at Belva. She gave me a smile, nodded, and said, “Go ahead, dear.” That nod told me I belonged.\u003c/p>\n\u003cfigure id=\"attachment_13982013\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982013\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak.jpg\" alt=\"A Black woman and white man having a discussion looking at prepared sheets of paper with an old-style CRT television in the background\" width=\"1920\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak-1536x998.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Belva Davis and producer John Roszak behind the scenes of a 1993 broadcast of KQED’s ‘This Week in Northern California.’ \u003ccite>(KQED archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Her memoir as a guide\u003c/h2>\n\u003cp>When I came across Belva’s memoir, \u003cem>Never in My Wildest Dreams, \u003c/em>I read it cover to cover and wept.\u003c/p>\n\u003cp>Her book became my guide. When I doubted myself, I turned back to her words: “Don’t be afraid of the space between your dreams and reality. If you dream it, you can make it so.”\u003c/p>\n\u003cp>When I nervously sent her my first published piece — a Hoodline Q&A about Harlem of the West with photographers Elizabeth Pepin Silva and Lewis Watts — she praised me but didn’t let me get comfortable.\u003c/p>\n\u003cp>“Good job getting this published,” she said. “But I want to hear your little voice ascend when I read your words. Work on strengthening your voice as much as possible — and avoid Q&As.”\u003c/p>\n\u003cp>Encouraging, but always demanding growth. That was Belva.\u003c/p>\n\u003ch2>What she faced — and what she taught\u003c/h2>\n\u003cp>Belva wasn’t just a face on screen. She was the only Black woman to climb to the top of Sutro Tower to report. She endured newsroom discrimination — being paid less than her white peers, overlooked for promotions, mocked by colleagues who questioned her ability. She had to fight just to be in the room — and then fight to stay there.\u003c/p>\n\u003cp>But she did more than survive. She became a trusted voice who brought San Francisco’s most urgent stories into living rooms across the Bay Area. She covered the Black Panthers, presidential elections, the Moscone and Milk assassinations. She anchored the news. She climbed to the top — literally and figuratively.\u003c/p>\n\u003cp>And she didn’t just open doors. She held them open. For more than a decade, she served as the National Equal Employment Opportunities Chair for the American Federation of Television and Radio Artists, advocating for women, minorities and people with disabilities in the industry. She mentored younger journalists.\u003c/p>\n\u003cp>Her lesson to me was clear: You don’t need the perfect degree or the perfect connections. What you need is persistence — and faith that your perspective matters. No matter how many times the door is slammed in your face, keep knocking. Eventually, someone will let you in. And once you’re in, hold that door for the next person.\u003c/p>\n\u003cfigure id=\"attachment_13982014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine.jpg\" alt=\"A young Black woman smiles at the camera in a headshot from the '70s.\" width=\"1920\" height=\"2412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-1630x2048.jpg 1630w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Belva Davis’s first foray into journalism began as a freelancer for Jet Magazine in 1957. \u003ccite>(ROMAINE/KQED archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Always and then always’\u003c/h2>\n\u003cp>The awe of her presence was real. I never felt worthy of standing next to her. But she carried herself with such grace that she made even the smallest encounter a moment of mentorship.\u003c/p>\n\u003cp>In one of her last interviews, Belva explained why she spent so much of her life reaching back to support others: “I owe it to another person to say what I’ve learned. I’ve learned that it’s wise to take responsibility for the time you take up and space you occupy. I think each one of us lives in direct relationship to the heroes and sheroes we have. Always and then always.”\u003c/p>\n\u003cp>That’s the Belva I want people to remember — not just the résumé of groundbreaking “firsts,” but the woman who quietly lifted others.\u003c/p>\n\u003cp>Belva, you are my shero. You saw me when I felt invisible. You encouraged me when I felt lost. You gave me permission to take up space.\u003c/p>\n\u003cp>I will use your story as my guide in this industry. And when I look at Sutro Tower — rising above the fog, standing tall over the city we both love — I will think of you.\u003c/p>\n\u003cp>Fearless. Unshakable. Rising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Thank you for holding the door open. I promise to do the same.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Change is inevitable. Growth is optional.\u003c/em>\u003c/p>\n\u003cp>That was the spirit I carried as a young Black journalist in San Francisco, searching for direction. And it was \u003ca href=\"https://www.kqed.org/news/11962918/groundbreaking-journalist-belva-davis-dies-at-92\">Belva Davis\u003c/a> — the woman who became the first Black female television reporter on the West Coast — who showed me that growth in this field meant courage.\u003c/p>\n\u003cp>When I learned of Belva’s passing, I cried for two days. Every time I opened my phone, another tribute appeared — another announcement, another video. But one image cut through them all: Belva riding in a cage to the top of \u003ca href=\"https://www.facebook.com/groups/remembered/posts/2715996145268886/\">Sutro Tower\u003c/a> as it neared completion, reporting for KPIX from 700 feet in the sky.\u003c/p>\n\u003cp>That was Belva. Fearless. Unshakable. Rising.\u003c/p>\n\u003cfigure id=\"attachment_13982012\" class=\"wp-caption aligncenter\" style=\"max-width: 1615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED.jpg\" alt='A person leans on a desk in a TV studio with the words \"This Week in Northern California\" written on the wall behind her.' width=\"1615\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED.jpg 1615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED-768x951.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/27_Belva-Davis_TWINC-KQED-1240x1536.jpg 1240w\" sizes=\"auto, (max-width: 1615px) 100vw, 1615px\">\u003cfigcaption class=\"wp-caption-text\">Belva Davis, on the set of KQED’s ‘This Week in Northern California.’ \u003ccite>(KQED Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How we met\u003c/h2>\n\u003cp>I was working at 1300 on Fillmore when the neighborhood was buzzing — Yoshi’s Jazz Club next door; Black excellence walking through the door every night. I was proud to be there, but I knew I wanted more. That’s when Ave Montague, the PR powerhouse behind the San Francisco Black Film Festival, hired me. Through Ave, I met Barbara Rodgers, Pam Moore, Carolyn Tyler — and of course, Belva Davis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These were women who commanded Bay Area newsrooms. For the first time, I could see myself in them.\u003c/p>\n\u003cp>The last project Ave and I worked on together was Inauguration West, the official West Coast celebration of President Barack Obama’s inauguration. My sister called with tickets to D.C., and Ave insisted I go: “You’ll miss a good party, but you must go to that event.”\u003c/p>\n\u003cp>I went. When I returned, Ave had passed away unexpectedly. I was devastated. She was one of my mentors, and my bridge into this world. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>The tribute\u003c/h2>\n\u003cp>To honor Ave, I created a tribute video featuring the lives she touched. Among those was Belva.\u003c/p>\n\u003cp>I’ll never forget visiting Belva’s home for that project. She sat on her yellow floral couch, camera-ready. As we checked sound, I told her I had just finished her memoir and was floored by her account of covering the assassinations of Harvey Milk and George Moscone. My boss at the time — her daughter Darolyn — had been in City Hall that day.\u003c/p>\n\u003cp>Belva nodded gravely. “Oh my goodness, 1978 was a troubling year,” she said. She described getting the call, rushing to City Hall, watching terrified people run through the halls. “It was one of the most difficult tragedies I ever had to report,” Belva told me.\u003c/p>\n\u003cp>Then she looked me over with the kind of knowing smile only someone who had already endured the long road could give. “You should be a storyteller,” she said directly. “You’re smart and passionate, and you know your history.”\u003c/p>\n\u003cp>It was a simple phrase, but it hit like destiny.\u003c/p>\n\u003ch2>The nod\u003c/h2>\n\u003cp>Not long after, I volunteered at the Palace of Fine Arts, where Belva was interviewing Condoleezza Rice. I was managing the photo line. As the room cleared, Condoleezza invited me to join her for a picture.\u003c/p>\n\u003cp>I froze. I looked at Belva. She gave me a smile, nodded, and said, “Go ahead, dear.” That nod told me I belonged.\u003c/p>\n\u003cfigure id=\"attachment_13982013\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982013\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak.jpg\" alt=\"A Black woman and white man having a discussion looking at prepared sheets of paper with an old-style CRT television in the background\" width=\"1920\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Roszak-1536x998.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Belva Davis and producer John Roszak behind the scenes of a 1993 broadcast of KQED’s ‘This Week in Northern California.’ \u003ccite>(KQED archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Her memoir as a guide\u003c/h2>\n\u003cp>When I came across Belva’s memoir, \u003cem>Never in My Wildest Dreams, \u003c/em>I read it cover to cover and wept.\u003c/p>\n\u003cp>Her book became my guide. When I doubted myself, I turned back to her words: “Don’t be afraid of the space between your dreams and reality. If you dream it, you can make it so.”\u003c/p>\n\u003cp>When I nervously sent her my first published piece — a Hoodline Q&A about Harlem of the West with photographers Elizabeth Pepin Silva and Lewis Watts — she praised me but didn’t let me get comfortable.\u003c/p>\n\u003cp>“Good job getting this published,” she said. “But I want to hear your little voice ascend when I read your words. Work on strengthening your voice as much as possible — and avoid Q&As.”\u003c/p>\n\u003cp>Encouraging, but always demanding growth. That was Belva.\u003c/p>\n\u003ch2>What she faced — and what she taught\u003c/h2>\n\u003cp>Belva wasn’t just a face on screen. She was the only Black woman to climb to the top of Sutro Tower to report. She endured newsroom discrimination — being paid less than her white peers, overlooked for promotions, mocked by colleagues who questioned her ability. She had to fight just to be in the room — and then fight to stay there.\u003c/p>\n\u003cp>But she did more than survive. She became a trusted voice who brought San Francisco’s most urgent stories into living rooms across the Bay Area. She covered the Black Panthers, presidential elections, the Moscone and Milk assassinations. She anchored the news. She climbed to the top — literally and figuratively.\u003c/p>\n\u003cp>And she didn’t just open doors. She held them open. For more than a decade, she served as the National Equal Employment Opportunities Chair for the American Federation of Television and Radio Artists, advocating for women, minorities and people with disabilities in the industry. She mentored younger journalists.\u003c/p>\n\u003cp>Her lesson to me was clear: You don’t need the perfect degree or the perfect connections. What you need is persistence — and faith that your perspective matters. No matter how many times the door is slammed in your face, keep knocking. Eventually, someone will let you in. And once you’re in, hold that door for the next person.\u003c/p>\n\u003cfigure id=\"attachment_13982014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine.jpg\" alt=\"A young Black woman smiles at the camera in a headshot from the '70s.\" width=\"1920\" height=\"2412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-768x965.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-1223x1536.jpg 1223w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/231003-BELVA-DAVIS-Romaine-1630x2048.jpg 1630w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Belva Davis’s first foray into journalism began as a freelancer for Jet Magazine in 1957. \u003ccite>(ROMAINE/KQED archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Always and then always’\u003c/h2>\n\u003cp>The awe of her presence was real. I never felt worthy of standing next to her. But she carried herself with such grace that she made even the smallest encounter a moment of mentorship.\u003c/p>\n\u003cp>In one of her last interviews, Belva explained why she spent so much of her life reaching back to support others: “I owe it to another person to say what I’ve learned. I’ve learned that it’s wise to take responsibility for the time you take up and space you occupy. I think each one of us lives in direct relationship to the heroes and sheroes we have. Always and then always.”\u003c/p>\n\u003cp>That’s the Belva I want people to remember — not just the résumé of groundbreaking “firsts,” but the woman who quietly lifted others.\u003c/p>\n\u003cp>Belva, you are my shero. You saw me when I felt invisible. You encouraged me when I felt lost. You gave me permission to take up space.\u003c/p>\n\u003cp>I will use your story as my guide in this industry. And when I look at Sutro Tower — rising above the fog, standing tall over the city we both love — I will think of you.\u003c/p>\n\u003cp>Fearless. Unshakable. Rising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thank you for holding the door open. I promise to do the same.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>[aside postID='news_11897843']In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "voguing-ballroom-bayview-opera-house-san-francisco-oakland-to-all",
"title": "Voguing in the Bayview: Ballroom Culture Comes Alive With Joy at the Opera House",
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"content": "\u003cfigure id=\"attachment_13978075\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A contestant executes a dramatic dip on the runway at the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An hour before doors opened, the bass was already pounding through the walls of the \u003ca href=\"https://www.kqed.org/news/tag/bayview-opera-house\">Ruth Williams Bayview Opera House\u003c/a>, pulsing in my chest as I reached for the doorknob. Inside was organized chaos: Opera House staff adjusting stage lights and fine-tuning sound checks while ballroom contestants zipped up outfits, dabbed on lipstick, and darted between dressing rooms. In one corner, a group practiced their runway moves; in another, competitors caught up, laughing and chatting.\u003c/p>\n\u003cp>“Excuse me, sis, can you help me put this necklace on?” one participant asked, holding up a chunky chain. “I got you,” I said, snapping the clasp into place. “Thank you so much!” they beamed, revealing a pendant that read “Cunty.”\u003c/p>\n\u003cp>Then the music shifted, a crowd formed, and suddenly the Power of Love Kiki Ball was on.\u003c/p>\n\u003cfigure id=\"attachment_13978078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978078\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience cheers on a participant’s energy and style during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event marked the fourth time District 10 Pride has partnered with \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">Oakland to All\u003c/a>, the Bay Area-based ballroom collective centering Black and Brown queer joy, to bring ballroom to the Opera House. Wednesday night’s ball was their biggest San Francisco event yet, drawing approximately 300 people.\u003c/p>\n\u003ch2>What is Ballroom Culture?\u003c/h2>\n\u003cp>For those unfamiliar with the ballroom scene, Mojo Carter offered a vivid explanation: “I would say ballroom is kind of like gay fantasy football. It’s like you have your houses, which are like your home teams, you have your home balls… It’s very similar to sorority culture, but it’s very queer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These “houses” function as chosen families, offering support both on and off the runway. On Wednesday, participants competed in categories like Executive Realness and Legendary Dip, with judges scoring performances from 1 to 10 — or “chopping” contestants entirely.\u003c/p>\n\u003cfigure id=\"attachment_13978080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Judges score performances during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One highlight was Couples Realness, in which two people walk the runway as a unit, and are judged on their chemistry, synchronized energy, and coordinated style. It’s not about being an actual romantic pair, but selling the fantasy with attitude, presence, and connection. When the winning couple took home $300, one spectator turned to his girlfriend in amazement: “Three hundred dollars? Next time, we need to enter!”\u003c/p>\n\u003cp>They laughed, but the surprise in his voice summed up a lesson newcomers were learning: ballroom is serious competition wrapped in joyful rebellion.\u003c/p>\n\u003cp>While contestants came more than prepared, even more exciting to witness were attendees who showed up with no real plans to participate, just to cheer on the competitors — and ended up jumping in at the last minute. “I didn’t plan to walk at all, but family pushed me!” said Clover Bodega, who surprised everyone by taking home a grand prize for voguing.\u003c/p>\n\u003cfigure id=\"attachment_13978077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Youth performers from Feline Finesse bring energy to the stage during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>More Than Entertainment\u003c/h2>\n\u003cp>Rooted in the drag ball traditions of early 20th century Harlem and carried forward by Black and Latinx LGBTQ+ communities through the 1970s and ’80s, ballroom culture has long been a vehicle for self-expression and resistance. It provided safe spaces long before mainstream recognition arrived through documentaries like \u003cem>Paris is Burning\u003c/em> or shows like \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>“Ballroom is a community. The ball is the competition,” said Shireen Rahimi, founder of Oakland to All. “This was birthed out of a marginalized community within a marginalized community. Ultimately, it’s about survival.”\u003c/p>\n\u003cp>The culture provides a space for those who often struggle to find acceptance elsewhere.\u003c/p>\n\u003cp>“I can’t do this in the real world. I can’t be the executive. I can’t walk the runway, because people are always trying to tear me down. But I can come here and be myself,” Rahimi said. “When I think of ballroom, I think of a community that made survival look very glamorous.”\u003c/p>\n\u003cfigure id=\"attachment_13978076\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Mojo Carter performs on the runway during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For participants like Dhalimo Moschino, who traveled from Harlem to join the Bay Area scene, voguing defies easy definition.\u003c/p>\n\u003cp>“The best explanation is there’s no actual explanation for vogue. It’s a feeling. It literally is revolution… All of that is rebellion. So vogue, if I had to define it at all, it is rebellion — and it’s entertaining as fuck.”\u003c/p>\n\u003cp>Though ballroom culture traces its roots to 1930s Harlem, the Bay Area scene has found a powerful ally in the Bayview.\u003c/p>\n\u003cp>“Bayview Opera House and D10 were the first ones to ever book Oakland to All and actually bring us here,” Rahimi said, adding, “this space is one of our favorite places.”\u003c/p>\n\u003cfigure id=\"attachment_13978082\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Confidence and control were paramount during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Theo Ellington, Executive Director of the Ruth Williams Bayview Opera House, sees the partnership as essential to the venue’s mission.\u003c/p>\n\u003cp>“This event is a reflection of what we believe in — everyone deserves a space to be fully seen, celebrated, and free,” Ellington said. “We were proud to provide a grant to help bring this ballroom event to life because it signals that there is a growing LGBTQ+ presence on the southeast side of San Francisco.”\u003c/p>\n\u003cp>Barbara Gratta, president of District 10 Pride and a 30-year resident of the neighborhood, echoed the sentiment.\u003c/p>\n\u003cp>“It reminds me of what the Mission was in the ’90s as far as the diversity in this neighborhood… It’s got that inclusiveness for various types of ethnicities and cultural people,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978079\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Expressive movements captivated the audience during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Strengthening Community Through Competition\u003c/h2>\n\u003cp>Wednesday’s event included a tribute to Rashad Pridgen, a ballroom legend and mentor to many in the Bay Area who died in 2024. Pushdance, a BIPOC dance collective, performed a moving tribute titled “House of Rashad” in his honor.\u003c/p>\n\u003cp>“He was called Baba Rashad by the young folks,” said artist Raissa Simpson, who has worked in the Bayview since 2007. “He’s one of our ancestors now. He’s a guiding star, I think, for a lot of folks.”\u003c/p>\n\u003cp>For Simpson, voguing holds profound cultural weight. “Voguing for me is Black culture. It’s queer culture… It’s not pop culture. It’s really about queer culture. So for me, it’s deep. It’s not Madonna.”\u003c/p>\n\u003cfigure id=\"attachment_13978081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Awards line a table before the start of the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than dividing participants, competition often brings those in the ballroom scene closer together.\u003c/p>\n\u003cp>“Ballroom pushes us to be our best,” Rahimi said. “This is a family. We are here to build each other up because, you know, some people don’t have mothers and fathers. Some people don’t have community in their schools or their neighborhoods. This is our community.”\u003c/p>\n\u003cp>Moschino summed up why these community events matter — especially now.\u003c/p>\n\u003cp>“It’s visibility, it’s freedom, and it’s encouragement for somebody that is stuck — be it a child at a home that’s not being loved with tender care, an adult who’s lost their way and too afraid to be themselves, or a senior who’s had to live through all the challenges and never got a chance to just throw their hands in the air and say, ‘fuck you, everybody.’”\u003c/p>\n\u003cp>As houses competed Wednesday night, that freedom and encouragement were on full display.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/meaghanmitchellsf/\">Meaghan Mitchell\u003c/a> is a San Francisco native and narrative journalist whose first-person reporting is deeply rooted in the communities she covers. She was an early team member at the San Francisco Standard and previously served as an editor at Hoodline. Her work has appeared in SFGATE, San Francisco Bay View and SFist, among other outlets. She covers arts, culture and community life in underrepresented neighborhoods — centering stories on engagement, cultural identity, and social equity, while highlighting the resilience of San Francisco’s Black and Brown communities.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978075\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A contestant executes a dramatic dip on the runway at the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An hour before doors opened, the bass was already pounding through the walls of the \u003ca href=\"https://www.kqed.org/news/tag/bayview-opera-house\">Ruth Williams Bayview Opera House\u003c/a>, pulsing in my chest as I reached for the doorknob. Inside was organized chaos: Opera House staff adjusting stage lights and fine-tuning sound checks while ballroom contestants zipped up outfits, dabbed on lipstick, and darted between dressing rooms. In one corner, a group practiced their runway moves; in another, competitors caught up, laughing and chatting.\u003c/p>\n\u003cp>“Excuse me, sis, can you help me put this necklace on?” one participant asked, holding up a chunky chain. “I got you,” I said, snapping the clasp into place. “Thank you so much!” they beamed, revealing a pendant that read “Cunty.”\u003c/p>\n\u003cp>Then the music shifted, a crowd formed, and suddenly the Power of Love Kiki Ball was on.\u003c/p>\n\u003cfigure id=\"attachment_13978078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978078\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience cheers on a participant’s energy and style during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event marked the fourth time District 10 Pride has partnered with \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">Oakland to All\u003c/a>, the Bay Area-based ballroom collective centering Black and Brown queer joy, to bring ballroom to the Opera House. Wednesday night’s ball was their biggest San Francisco event yet, drawing approximately 300 people.\u003c/p>\n\u003ch2>What is Ballroom Culture?\u003c/h2>\n\u003cp>For those unfamiliar with the ballroom scene, Mojo Carter offered a vivid explanation: “I would say ballroom is kind of like gay fantasy football. It’s like you have your houses, which are like your home teams, you have your home balls… It’s very similar to sorority culture, but it’s very queer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These “houses” function as chosen families, offering support both on and off the runway. On Wednesday, participants competed in categories like Executive Realness and Legendary Dip, with judges scoring performances from 1 to 10 — or “chopping” contestants entirely.\u003c/p>\n\u003cfigure id=\"attachment_13978080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Judges score performances during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One highlight was Couples Realness, in which two people walk the runway as a unit, and are judged on their chemistry, synchronized energy, and coordinated style. It’s not about being an actual romantic pair, but selling the fantasy with attitude, presence, and connection. When the winning couple took home $300, one spectator turned to his girlfriend in amazement: “Three hundred dollars? Next time, we need to enter!”\u003c/p>\n\u003cp>They laughed, but the surprise in his voice summed up a lesson newcomers were learning: ballroom is serious competition wrapped in joyful rebellion.\u003c/p>\n\u003cp>While contestants came more than prepared, even more exciting to witness were attendees who showed up with no real plans to participate, just to cheer on the competitors — and ended up jumping in at the last minute. “I didn’t plan to walk at all, but family pushed me!” said Clover Bodega, who surprised everyone by taking home a grand prize for voguing.\u003c/p>\n\u003cfigure id=\"attachment_13978077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Youth performers from Feline Finesse bring energy to the stage during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>More Than Entertainment\u003c/h2>\n\u003cp>Rooted in the drag ball traditions of early 20th century Harlem and carried forward by Black and Latinx LGBTQ+ communities through the 1970s and ’80s, ballroom culture has long been a vehicle for self-expression and resistance. It provided safe spaces long before mainstream recognition arrived through documentaries like \u003cem>Paris is Burning\u003c/em> or shows like \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>“Ballroom is a community. The ball is the competition,” said Shireen Rahimi, founder of Oakland to All. “This was birthed out of a marginalized community within a marginalized community. Ultimately, it’s about survival.”\u003c/p>\n\u003cp>The culture provides a space for those who often struggle to find acceptance elsewhere.\u003c/p>\n\u003cp>“I can’t do this in the real world. I can’t be the executive. I can’t walk the runway, because people are always trying to tear me down. But I can come here and be myself,” Rahimi said. “When I think of ballroom, I think of a community that made survival look very glamorous.”\u003c/p>\n\u003cfigure id=\"attachment_13978076\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Mojo Carter performs on the runway during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For participants like Dhalimo Moschino, who traveled from Harlem to join the Bay Area scene, voguing defies easy definition.\u003c/p>\n\u003cp>“The best explanation is there’s no actual explanation for vogue. It’s a feeling. It literally is revolution… All of that is rebellion. So vogue, if I had to define it at all, it is rebellion — and it’s entertaining as fuck.”\u003c/p>\n\u003cp>Though ballroom culture traces its roots to 1930s Harlem, the Bay Area scene has found a powerful ally in the Bayview.\u003c/p>\n\u003cp>“Bayview Opera House and D10 were the first ones to ever book Oakland to All and actually bring us here,” Rahimi said, adding, “this space is one of our favorite places.”\u003c/p>\n\u003cfigure id=\"attachment_13978082\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Confidence and control were paramount during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Theo Ellington, Executive Director of the Ruth Williams Bayview Opera House, sees the partnership as essential to the venue’s mission.\u003c/p>\n\u003cp>“This event is a reflection of what we believe in — everyone deserves a space to be fully seen, celebrated, and free,” Ellington said. “We were proud to provide a grant to help bring this ballroom event to life because it signals that there is a growing LGBTQ+ presence on the southeast side of San Francisco.”\u003c/p>\n\u003cp>Barbara Gratta, president of District 10 Pride and a 30-year resident of the neighborhood, echoed the sentiment.\u003c/p>\n\u003cp>“It reminds me of what the Mission was in the ’90s as far as the diversity in this neighborhood… It’s got that inclusiveness for various types of ethnicities and cultural people,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978079\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Expressive movements captivated the audience during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Strengthening Community Through Competition\u003c/h2>\n\u003cp>Wednesday’s event included a tribute to Rashad Pridgen, a ballroom legend and mentor to many in the Bay Area who died in 2024. Pushdance, a BIPOC dance collective, performed a moving tribute titled “House of Rashad” in his honor.\u003c/p>\n\u003cp>“He was called Baba Rashad by the young folks,” said artist Raissa Simpson, who has worked in the Bayview since 2007. “He’s one of our ancestors now. He’s a guiding star, I think, for a lot of folks.”\u003c/p>\n\u003cp>For Simpson, voguing holds profound cultural weight. “Voguing for me is Black culture. It’s queer culture… It’s not pop culture. It’s really about queer culture. So for me, it’s deep. It’s not Madonna.”\u003c/p>\n\u003cfigure id=\"attachment_13978081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Awards line a table before the start of the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than dividing participants, competition often brings those in the ballroom scene closer together.\u003c/p>\n\u003cp>“Ballroom pushes us to be our best,” Rahimi said. “This is a family. We are here to build each other up because, you know, some people don’t have mothers and fathers. Some people don’t have community in their schools or their neighborhoods. This is our community.”\u003c/p>\n\u003cp>Moschino summed up why these community events matter — especially now.\u003c/p>\n\u003cp>“It’s visibility, it’s freedom, and it’s encouragement for somebody that is stuck — be it a child at a home that’s not being loved with tender care, an adult who’s lost their way and too afraid to be themselves, or a senior who’s had to live through all the challenges and never got a chance to just throw their hands in the air and say, ‘fuck you, everybody.’”\u003c/p>\n\u003cp>As houses competed Wednesday night, that freedom and encouragement were on full display.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/meaghanmitchellsf/\">Meaghan Mitchell\u003c/a> is a San Francisco native and narrative journalist whose first-person reporting is deeply rooted in the communities she covers. She was an early team member at the San Francisco Standard and previously served as an editor at Hoodline. Her work has appeared in SFGATE, San Francisco Bay View and SFist, among other outlets. She covers arts, culture and community life in underrepresented neighborhoods — centering stories on engagement, cultural identity, and social equity, while highlighting the resilience of San Francisco’s Black and Brown communities.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "faith-family-and-fillmore-rev-amos-c-browns-legacy-in-san-francisco",
"title": "'A Pastor's Heart': How Rev. Amos C. Brown Shaped Faith in SF for Nearly 50 Years",
"publishDate": 1750762807,
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"headTitle": "‘A Pastor’s Heart’: How Rev. Amos C. Brown Shaped Faith in SF for Nearly 50 Years | KQED",
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"content": "\u003cp>I slipped into the Third Baptist Church of \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> on the first Sunday in June. The usher handed me a program, communion crackers and grape juice.\u003c/p>\n\u003cp>“Oh, thanks,” I said, tearing open the packet and popping the wafer into my mouth.\u003c/p>\n\u003cp>He tapped my shoulder, stifling a laugh. “Not yet,” he whispered.\u003c/p>\n\u003cp>“Oops,” I muttered, spitting the cracker into my palm and quickly pocketing it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hadn’t been to church in a while. But watching Rev. Dr. Amos C. Brown beam proudly behind his successor, Rev. Devon Jerome Crawford, I realized I wasn’t a visitor. I was home.\u003c/p>\n\u003cp>After delivering his final sermon as pastor of the historic San Francisco church last Sunday, Brown leaves behind more than a pulpit — he leaves a legacy. Over nearly five decades, he helped shape the spiritual, cultural and political life of Black San Francisco, mentoring generations, fighting injustice and anchoring a community amid constant change.\u003c/p>\n\u003cp>His departure marks the end of an era — and the start of a new one.\u003c/p>\n\u003cfigure id=\"attachment_12045573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family, politicians and congregants gather at the Third Baptist Church for a ceremony honoring the legacy of Rev. Amos C. Brown in San Francisco on June 22, 2025. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a civil rights icon, spiritual leader and moral compass, his influence is now etched into the fabric of the city — from the pews of a Fillmore church to the chambers of City Hall.\u003c/p>\n\u003cp>The news of Brown’s retirement hit me with an unexpected sadness, the kind that settles deep in your chest and makes you realize how much time you’ve let slip away. As a child growing up in San Francisco, I never had to ask who Brown was. Church was part of my social life. Beyond worshiping on Sunday, it was a cultural hub, a gathering place for political activism, a place to feel safe.[aside postID=news_12003610 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/022_KQED_CAReparationsTaskForce_04132022_qed-1020x679.jpg']\u003c/p>\n\u003cp>My grandmother attended Third Baptist Church, sang in the choir and even prepared Sunday dinner for fellow congregants.\u003c/p>\n\u003cp>I have memories woven into the walls of Third Baptist: attending services in my Easter dress as a child, performing with the Touch of Class Choir from Phillip and Sala Burton High School under musical director Gregory Cole as a teen, and showing up to support friends who had lost loved ones.\u003c/p>\n\u003cp>Third Baptist wasn’t just a church. It was the heartbeat of Black San Francisco.\u003c/p>\n\u003cp>But as time passed, gentrification crept in, neighborhoods shifted, elders passed away — and so did the culture of the Black church. As an adult, I realized I hadn’t spent enough time with Brown, learning from him. In this era of generational change in Black leadership, I felt an urgency to support him, to absorb his wisdom while I still could.\u003c/p>\n\u003cp>The weight of our current moment — the cultural chaos, the relentless demands of being Black and resilient in a city that often feels indifferent to our struggles — had left me spiritually depleted. I needed the kind of restoration that only comes from being among your people.\u003c/p>\n\u003cp>After the service, I approached Brown to reintroduce myself.\u003c/p>\n\u003cp>“Where are your grandparents from?” he asked.\u003c/p>\n\u003cp>“My grandpas are from Alabama, and my grandmas are from Houston and Galveston,” I said.\u003c/p>\n\u003cp>He smiled, a quiet recognition in his eyes. “I know you,” he said. “I better see you at church.”\u003c/p>\n\u003cfigure id=\"attachment_12045564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A new street sign honoring Rev. Amos C. Brown was unveiled outside of Third Baptist Church of San Francisco on June 21, 2025. Photo by Manuel Orbegozo for KQED. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spread love the Dr. Amos C. Brown Way\u003c/h2>\n\u003cp>When I learned Supervisor Bilal Mahmood had prepared legislation to rename a street in Brown’s honor, I went to City Hall on June 2 to witness the moment.\u003c/p>\n\u003cp>Brown walked into City Hall that afternoon with the quiet confidence of someone who has outlasted empires. His brown suit was pressed crisp, his steps measured and his presence filled the hallway. At 84, he moved like a man who has carried the weight of a community for nearly half a century and was finally ready to set it down.\u003c/p>\n\u003cp>The San Francisco Board of Supervisors’ Land Use and Transportation Committee unanimously advanced legislation to rename the 800 and 900 blocks of Pierce Street as Dr. Amos C. Brown Way.[aside postID=news_11948198 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/05/Rep-Episode-2_Thumbnail_1-1020x574.png']Crawford, Brown’s torchbearer, spoke of walking beside his mentor through the community.\u003c/p>\n\u003cp>“I’ve had the honor of walking with Dr. Brown through the streets of the Fillmore, standing beside him in the sanctuary of Third Baptist Church, getting haircuts and encouraging local youth at the Chicago Barbershop and sitting with grieving families as they prayed over loved ones during their most difficult hours,” he said. “And in every setting, he is the same: a man of integrity, a prophet with a pastor’s heart.”\u003c/p>\n\u003cp>Crawford, who relocated to the Bay Area earlier this year, called the street naming morally essential. “We are honoring a movement of justice, compassion, peace and, ultimately, love that has shaped generations,” he said.\u003c/p>\n\u003cp>Board President Rafael Mandelman embraced Brown after the vote.\u003c/p>\n\u003cp>“In a time when things are so divisive at the federal level, it feels right that we’re doing something decent and unifying here in San Francisco,” he told me.\u003c/p>\n\u003cp>Brown showed me the desk in the Board of Supervisors hearing room where he had carved “Rev. Amos Brown sat here.”\u003c/p>\n\u003cp>On his way out, he tipped his hat with a smile. “I’ll see you in church on Sunday,” said Brown, who served on the board for five years.\u003c/p>\n\u003cfigure id=\"attachment_12045562\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rev. Amos C. Brown waves to the crowd during a street renaming ceremony outside of the Third Baptist Church in the Fillmore District on June 21, 2025. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supervisor Shamann Walton, who co-authored the street naming legislation, shared a personal detail that underscored his deep connection to Brown: “On his first Sunday as pastor, he christened me when I was one year old at Third Baptist, and we share February as our birthday month,” he said.[aside postID=news_12044638 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/12m-Reparations-1.jpg']Brown hasn’t just preached to San Francisco’s Black community; he has taught, inspired, baptized, eulogized and fought for them in boardrooms where they couldn’t get a seat.\u003c/p>\n\u003cp>Among those honored alongside Brown on June 3 was former \u003ca href=\"https://www.kqed.org/news/tag/bill-scott\">Police Chief Bill Scott\u003c/a>, recognized for his decades of public service. When Scott took the podium, he became emotional and acknowledged Brown first, his voice breaking as he spoke about the person who has been “a straight-up champion, in San Francisco and beyond.”\u003c/p>\n\u003cp>“This community owes him a debt of gratitude. I owe him a debt of gratitude,” Scott said. “As an African American man, I’m so proud of that. When I listen to him, and I’ve heard him preach many times, it always brings everybody into the conversation. He wants what’s best for everybody.”\u003c/p>\n\u003cp>Former Assistant Chief David Lazar recalled Brown’s hands-on approach. Twenty-six years ago, when Lazar was a vice officer dealing with prostitution problems in the Mission, Brown — then a member of the Board of Supervisors — insisted on seeing the situation for himself.\u003c/p>\n\u003cp>“He got in the car with me. That was the first time I met him. We went around and looked at everything,” Lazar recalled. “That’s a perfect example of someone on the ground. Here he was, in city government, but he came out to the community to see what was happening.”\u003c/p>\n\u003cfigure id=\"attachment_12045563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Amos C. Brown stands outside Third Baptist Church in San Francisco on June 21, 2025, for the unveiling of a street sign and ceremony renaming a section of Pierce Street in his honor. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That personal approach defined Brown’s ministry. Former Mayor London Breed recalled how during the height of gun violence in the city, “time and again, young Black men were being killed. Families had no place to bury their sons.”\u003c/p>\n\u003cp>Brown never hesitated. “Every single time a call was made to Rev. Brown, he said, ‘Yes.’ Every time,” Breed said. “He wasn’t seeking recognition. Most of the time, he didn’t even want people to know what he had done.”\u003c/p>\n\u003cp>When San Francisco Mayor Daniel Lurie stood alongside Brown on the steps of City Hall on June 12, joined by other faith leaders and community groups, he reaffirmed the city’s commitment to remaining a sanctuary amid a wave of immigration raids and detentions that have \u003ca href=\"https://www.kqed.org/news/12043596/protesters-swarm-sf-immigration-court-after-more-ice-arrests\">sparked protests across California\u003c/a>.\u003c/p>\n\u003cp>The Board of Supervisors unanimously passed the street renaming. Jonathan Butler, the current president of the San Francisco NAACP, said the street renaming is “a legacy carved in concrete.”\u003c/p>\n\u003cp>“It’s an opportunity to teach our students in San Francisco about civil rights and the people who fought for it right here in this city,” he added.\u003c/p>\n\u003cp>At the June 21 unveiling of the Dr. Amos C. Brown Way street sign, Breed spoke about the impact of Brown’s service.\u003c/p>\n\u003cp>“There are even more people who don’t even realize that because of him, they are who they are,” she said. “I’m one of those people.”\u003c/p>\n\u003cfigure id=\"attachment_12045583\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-2000x1323.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-2048x1355.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former San Francisco Mayor Art Agnos and Rev. Amos C. Brown, then president of the San Francisco NAACP, on Jan. 1, 1990. \u003ccite>(Photo by Clarence Gatson Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A sanctuary in the city\u003c/h2>\n\u003cp>The doors of Third Baptist swing open for everyone.\u003c/p>\n\u003cp>Faith is welcome but not required. Your skin color doesn’t matter. Your zip code is irrelevant. What matters is that you come with reverence — for the history held in these walls, the culture that pulses through this community and the movement still unfolding in a space where civil rights and spiritual purpose have always been one.\u003c/p>\n\u003cp>Brown was mentored by Medgar Evers, the NAACP’s field secretary for Mississippi, who was murdered at his home in 1963. Inspired by Evers, a World War II veteran and civil rights activist, Brown founded the NAACP’s first youth council in Jackson, Mississippi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rnw3ozE43qQ\u003c/p>\n\u003cp>Brown, whose great-grandfather was born enslaved, is one of eight students to take the only college class ever taught by Dr. Martin Luther King Jr. at Morehouse College.\u003c/p>\n\u003cp>After taking over Third Baptist in June 1976, Brown transformed the church into a hub for activism, interfaith coalition-building and empowerment.\u003c/p>\n\u003cfigure id=\"attachment_12045549\" class=\"wp-caption alignright\" style=\"max-width: 930px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122.jpg\" alt=\"\" width=\"930\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122.jpg 930w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122-160x212.jpg 160w\" sizes=\"auto, (max-width: 930px) 100vw, 930px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rev. Amos C. Brown as a San Francisco supervisor. \u003ccite>(Photo By Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He served on the San Francisco Board of Supervisors from 1996 to 2001, first appointed by former Mayor Willie Brown Jr., then elected to the role. As president of the San Francisco NAACP, he led campaigns against police misconduct and government discrimination, pushing for equity in education, housing, public safety and healthcare.\u003c/p>\n\u003cp>“In my efforts to be concerned about the rights of Black people, I didn’t stop with just Black people,” he told me in a recent interview. “I’ve always been committed to equal protection under the law for LGBTQ+ people, for Asians, for Latinos and for immigrants, especially those from Africa and the Caribbean. Our activism must be rooted in justice for all.”\u003c/p>\n\u003cp>The Fillmore, a district once dubbed the Harlem of the West, is where his legacy is most deeply felt. He was one of the earliest and most vocal critics of the urban renewal programs that \u003ca href=\"https://www.kqed.org/news/11961026/thousands-sf-homes-destroyed-decades-ago-rebuilt-under-new-bill\">displaced thousands of Black families\u003c/a> during the 1960s and ‘70s.\u003c/p>\n\u003cp>“San Francisco has often looked at Black folks, but hasn’t truly seen us as worthy of having our watering hole, our gathering place, where we would be able to thrive and survive in this city,” Brown told me.\u003c/p>\n\u003cp>Brown, who served on the California Reparations Task Force, the first statewide body to study and recommend \u003ca href=\"https://www.kqed.org/reparations\">reparative measures for Black people\u003c/a> who suffered racial harm, continues advocating for spaces where the community can gather, celebrate culture and access resources denied by racist policies.\u003c/p>\n\u003cp>As former Vice President Kamala Harris — whose ascension to the highest levels of government began in Oakland and San Francisco — launched her presidential campaign last July, conservative media personalities \u003ca href=\"https://www.kqed.org/news/12003610/kamala-harris-embraced-reparations-5-years-ago-her-sf-pastor-says-criticism-is-unjust\">assailed her position on reparations\u003c/a> as extremist and zeroed in on her relationship with Brown.\u003c/p>\n\u003cp>Brown, who led the closing prayer at the Democratic National Convention on the night Harris accepted the nomination, said those who used reparations to attack Harris were misguided.\u003c/p>\n\u003cp>“They don’t know history,” Brown told KQED. “Anybody who just cancels out and says no, they don’t respect the humanity of Black people, and they have a deep, deep problem. For we are human, and we deserve the same thing that other human beings have received in terms of repair for harms done.\u003c/p>\n\u003cp>“That’s what reparations is all about, repairing the harm that was done to an individual, to a people, to a situation.”\u003c/p>\n\u003cfigure id=\"attachment_12045566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rev. Devon Crawford waves to the congregation at Third Baptist Church in San Francisco on June 22. He succeeds Rev. Amos C. Brown, who led the church for nearly 50 years. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retirement, Brown told me he’s working on a book chronicling his journey through faith, civil rights and public service.\u003c/p>\n\u003cp>“Retirement doesn’t mean I’m going to sit in a rocking chair and twiddle my thumbs,” he said. “I’ve always been an activist. I’ll just be working from a different corner of God’s Earth, so to speak.”\u003c/p>\n\u003cp>He’ll continue mentoring the next generation, including Crawford. “He’s got common sense, what we call motherwit. And he’s got empathy,” Brown said.\u003c/p>\n\u003cp>As San Francisco etches his name into concrete and memory, something deeper is happening.\u003c/p>\n\u003cp>This isn’t just about honoring the past — it’s about inheritance, the kind rooted in Sunday morning wisdom and weekday action, and in the understanding that some paths are meant to be walked together.\u003c/p>\n\u003cp>A street now bears Brown’s name, but the true monument lies in the choice to keep walking, to keep showing up, to keep returning to the places that shaped us — and continue the work that defines us.\u003c/p>\n\u003cp>And yes, I’ve been going to church — arriving right on time, communion wafer intact.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/meaghanmitchellsf/\">Meaghan Mitchell\u003c/a> is a San Francisco native and narrative journalist whose first-person reporting is deeply rooted in the communities she covers. She was an early team member at the San Francisco Standard and previously served as an editor at Hoodline. Her work has appeared in SFGATE, San Francisco Bay View and SFist, among other outlets. She covers arts, culture and community life in underrepresented neighborhoods — centering stories on engagement, cultural identity, and social equity, while highlighting the resilience of San Francisco’s Black and Brown communities.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I slipped into the Third Baptist Church of \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> on the first Sunday in June. The usher handed me a program, communion crackers and grape juice.\u003c/p>\n\u003cp>“Oh, thanks,” I said, tearing open the packet and popping the wafer into my mouth.\u003c/p>\n\u003cp>He tapped my shoulder, stifling a laugh. “Not yet,” he whispered.\u003c/p>\n\u003cp>“Oops,” I muttered, spitting the cracker into my palm and quickly pocketing it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hadn’t been to church in a while. But watching Rev. Dr. Amos C. Brown beam proudly behind his successor, Rev. Devon Jerome Crawford, I realized I wasn’t a visitor. I was home.\u003c/p>\n\u003cp>After delivering his final sermon as pastor of the historic San Francisco church last Sunday, Brown leaves behind more than a pulpit — he leaves a legacy. Over nearly five decades, he helped shape the spiritual, cultural and political life of Black San Francisco, mentoring generations, fighting injustice and anchoring a community amid constant change.\u003c/p>\n\u003cp>His departure marks the end of an era — and the start of a new one.\u003c/p>\n\u003cfigure id=\"attachment_12045573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-78-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Family, politicians and congregants gather at the Third Baptist Church for a ceremony honoring the legacy of Rev. Amos C. Brown in San Francisco on June 22, 2025. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a civil rights icon, spiritual leader and moral compass, his influence is now etched into the fabric of the city — from the pews of a Fillmore church to the chambers of City Hall.\u003c/p>\n\u003cp>The news of Brown’s retirement hit me with an unexpected sadness, the kind that settles deep in your chest and makes you realize how much time you’ve let slip away. As a child growing up in San Francisco, I never had to ask who Brown was. Church was part of my social life. Beyond worshiping on Sunday, it was a cultural hub, a gathering place for political activism, a place to feel safe.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My grandmother attended Third Baptist Church, sang in the choir and even prepared Sunday dinner for fellow congregants.\u003c/p>\n\u003cp>I have memories woven into the walls of Third Baptist: attending services in my Easter dress as a child, performing with the Touch of Class Choir from Phillip and Sala Burton High School under musical director Gregory Cole as a teen, and showing up to support friends who had lost loved ones.\u003c/p>\n\u003cp>Third Baptist wasn’t just a church. It was the heartbeat of Black San Francisco.\u003c/p>\n\u003cp>But as time passed, gentrification crept in, neighborhoods shifted, elders passed away — and so did the culture of the Black church. As an adult, I realized I hadn’t spent enough time with Brown, learning from him. In this era of generational change in Black leadership, I felt an urgency to support him, to absorb his wisdom while I still could.\u003c/p>\n\u003cp>The weight of our current moment — the cultural chaos, the relentless demands of being Black and resilient in a city that often feels indifferent to our struggles — had left me spiritually depleted. I needed the kind of restoration that only comes from being among your people.\u003c/p>\n\u003cp>After the service, I approached Brown to reintroduce myself.\u003c/p>\n\u003cp>“Where are your grandparents from?” he asked.\u003c/p>\n\u003cp>“My grandpas are from Alabama, and my grandmas are from Houston and Galveston,” I said.\u003c/p>\n\u003cp>He smiled, a quiet recognition in his eyes. “I know you,” he said. “I better see you at church.”\u003c/p>\n\u003cfigure id=\"attachment_12045564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-25-MO-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A new street sign honoring Rev. Amos C. Brown was unveiled outside of Third Baptist Church of San Francisco on June 21, 2025. Photo by Manuel Orbegozo for KQED. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spread love the Dr. Amos C. Brown Way\u003c/h2>\n\u003cp>When I learned Supervisor Bilal Mahmood had prepared legislation to rename a street in Brown’s honor, I went to City Hall on June 2 to witness the moment.\u003c/p>\n\u003cp>Brown walked into City Hall that afternoon with the quiet confidence of someone who has outlasted empires. His brown suit was pressed crisp, his steps measured and his presence filled the hallway. At 84, he moved like a man who has carried the weight of a community for nearly half a century and was finally ready to set it down.\u003c/p>\n\u003cp>The San Francisco Board of Supervisors’ Land Use and Transportation Committee unanimously advanced legislation to rename the 800 and 900 blocks of Pierce Street as Dr. Amos C. Brown Way.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Crawford, Brown’s torchbearer, spoke of walking beside his mentor through the community.\u003c/p>\n\u003cp>“I’ve had the honor of walking with Dr. Brown through the streets of the Fillmore, standing beside him in the sanctuary of Third Baptist Church, getting haircuts and encouraging local youth at the Chicago Barbershop and sitting with grieving families as they prayed over loved ones during their most difficult hours,” he said. “And in every setting, he is the same: a man of integrity, a prophet with a pastor’s heart.”\u003c/p>\n\u003cp>Crawford, who relocated to the Bay Area earlier this year, called the street naming morally essential. “We are honoring a movement of justice, compassion, peace and, ultimately, love that has shaped generations,” he said.\u003c/p>\n\u003cp>Board President Rafael Mandelman embraced Brown after the vote.\u003c/p>\n\u003cp>“In a time when things are so divisive at the federal level, it feels right that we’re doing something decent and unifying here in San Francisco,” he told me.\u003c/p>\n\u003cp>Brown showed me the desk in the Board of Supervisors hearing room where he had carved “Rev. Amos Brown sat here.”\u003c/p>\n\u003cp>On his way out, he tipped his hat with a smile. “I’ll see you in church on Sunday,” said Brown, who served on the board for five years.\u003c/p>\n\u003cfigure id=\"attachment_12045562\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-9-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rev. Amos C. Brown waves to the crowd during a street renaming ceremony outside of the Third Baptist Church in the Fillmore District on June 21, 2025. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supervisor Shamann Walton, who co-authored the street naming legislation, shared a personal detail that underscored his deep connection to Brown: “On his first Sunday as pastor, he christened me when I was one year old at Third Baptist, and we share February as our birthday month,” he said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Brown hasn’t just preached to San Francisco’s Black community; he has taught, inspired, baptized, eulogized and fought for them in boardrooms where they couldn’t get a seat.\u003c/p>\n\u003cp>Among those honored alongside Brown on June 3 was former \u003ca href=\"https://www.kqed.org/news/tag/bill-scott\">Police Chief Bill Scott\u003c/a>, recognized for his decades of public service. When Scott took the podium, he became emotional and acknowledged Brown first, his voice breaking as he spoke about the person who has been “a straight-up champion, in San Francisco and beyond.”\u003c/p>\n\u003cp>“This community owes him a debt of gratitude. I owe him a debt of gratitude,” Scott said. “As an African American man, I’m so proud of that. When I listen to him, and I’ve heard him preach many times, it always brings everybody into the conversation. He wants what’s best for everybody.”\u003c/p>\n\u003cp>Former Assistant Chief David Lazar recalled Brown’s hands-on approach. Twenty-six years ago, when Lazar was a vice officer dealing with prostitution problems in the Mission, Brown — then a member of the Board of Supervisors — insisted on seeing the situation for himself.\u003c/p>\n\u003cp>“He got in the car with me. That was the first time I met him. We went around and looked at everything,” Lazar recalled. “That’s a perfect example of someone on the ground. Here he was, in city government, but he came out to the community to see what was happening.”\u003c/p>\n\u003cfigure id=\"attachment_12045563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-22-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Amos C. Brown stands outside Third Baptist Church in San Francisco on June 21, 2025, for the unveiling of a street sign and ceremony renaming a section of Pierce Street in his honor. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That personal approach defined Brown’s ministry. Former Mayor London Breed recalled how during the height of gun violence in the city, “time and again, young Black men were being killed. Families had no place to bury their sons.”\u003c/p>\n\u003cp>Brown never hesitated. “Every single time a call was made to Rev. Brown, he said, ‘Yes.’ Every time,” Breed said. “He wasn’t seeking recognition. Most of the time, he didn’t even want people to know what he had done.”\u003c/p>\n\u003cp>When San Francisco Mayor Daniel Lurie stood alongside Brown on the steps of City Hall on June 12, joined by other faith leaders and community groups, he reaffirmed the city’s commitment to remaining a sanctuary amid a wave of immigration raids and detentions that have \u003ca href=\"https://www.kqed.org/news/12043596/protesters-swarm-sf-immigration-court-after-more-ice-arrests\">sparked protests across California\u003c/a>.\u003c/p>\n\u003cp>The Board of Supervisors unanimously passed the street renaming. Jonathan Butler, the current president of the San Francisco NAACP, said the street renaming is “a legacy carved in concrete.”\u003c/p>\n\u003cp>“It’s an opportunity to teach our students in San Francisco about civil rights and the people who fought for it right here in this city,” he added.\u003c/p>\n\u003cp>At the June 21 unveiling of the Dr. Amos C. Brown Way street sign, Breed spoke about the impact of Brown’s service.\u003c/p>\n\u003cp>“There are even more people who don’t even realize that because of him, they are who they are,” she said. “I’m one of those people.”\u003c/p>\n\u003cfigure id=\"attachment_12045583\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-2000x1323.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-569336329-2048x1355.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former San Francisco Mayor Art Agnos and Rev. Amos C. Brown, then president of the San Francisco NAACP, on Jan. 1, 1990. \u003ccite>(Photo by Clarence Gatson Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A sanctuary in the city\u003c/h2>\n\u003cp>The doors of Third Baptist swing open for everyone.\u003c/p>\n\u003cp>Faith is welcome but not required. Your skin color doesn’t matter. Your zip code is irrelevant. What matters is that you come with reverence — for the history held in these walls, the culture that pulses through this community and the movement still unfolding in a space where civil rights and spiritual purpose have always been one.\u003c/p>\n\u003cp>Brown was mentored by Medgar Evers, the NAACP’s field secretary for Mississippi, who was murdered at his home in 1963. Inspired by Evers, a World War II veteran and civil rights activist, Brown founded the NAACP’s first youth council in Jackson, Mississippi.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Rnw3ozE43qQ'\n title='//www.youtube.com/embed/Rnw3ozE43qQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brown, whose great-grandfather was born enslaved, is one of eight students to take the only college class ever taught by Dr. Martin Luther King Jr. at Morehouse College.\u003c/p>\n\u003cp>After taking over Third Baptist in June 1976, Brown transformed the church into a hub for activism, interfaith coalition-building and empowerment.\u003c/p>\n\u003cfigure id=\"attachment_12045549\" class=\"wp-caption alignright\" style=\"max-width: 930px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122.jpg\" alt=\"\" width=\"930\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122.jpg 930w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1321530122-160x212.jpg 160w\" sizes=\"auto, (max-width: 930px) 100vw, 930px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rev. Amos C. Brown as a San Francisco supervisor. \u003ccite>(Photo By Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He served on the San Francisco Board of Supervisors from 1996 to 2001, first appointed by former Mayor Willie Brown Jr., then elected to the role. As president of the San Francisco NAACP, he led campaigns against police misconduct and government discrimination, pushing for equity in education, housing, public safety and healthcare.\u003c/p>\n\u003cp>“In my efforts to be concerned about the rights of Black people, I didn’t stop with just Black people,” he told me in a recent interview. “I’ve always been committed to equal protection under the law for LGBTQ+ people, for Asians, for Latinos and for immigrants, especially those from Africa and the Caribbean. Our activism must be rooted in justice for all.”\u003c/p>\n\u003cp>The Fillmore, a district once dubbed the Harlem of the West, is where his legacy is most deeply felt. He was one of the earliest and most vocal critics of the urban renewal programs that \u003ca href=\"https://www.kqed.org/news/11961026/thousands-sf-homes-destroyed-decades-ago-rebuilt-under-new-bill\">displaced thousands of Black families\u003c/a> during the 1960s and ‘70s.\u003c/p>\n\u003cp>“San Francisco has often looked at Black folks, but hasn’t truly seen us as worthy of having our watering hole, our gathering place, where we would be able to thrive and survive in this city,” Brown told me.\u003c/p>\n\u003cp>Brown, who served on the California Reparations Task Force, the first statewide body to study and recommend \u003ca href=\"https://www.kqed.org/reparations\">reparative measures for Black people\u003c/a> who suffered racial harm, continues advocating for spaces where the community can gather, celebrate culture and access resources denied by racist policies.\u003c/p>\n\u003cp>As former Vice President Kamala Harris — whose ascension to the highest levels of government began in Oakland and San Francisco — launched her presidential campaign last July, conservative media personalities \u003ca href=\"https://www.kqed.org/news/12003610/kamala-harris-embraced-reparations-5-years-ago-her-sf-pastor-says-criticism-is-unjust\">assailed her position on reparations\u003c/a> as extremist and zeroed in on her relationship with Brown.\u003c/p>\n\u003cp>Brown, who led the closing prayer at the Democratic National Convention on the night Harris accepted the nomination, said those who used reparations to attack Harris were misguided.\u003c/p>\n\u003cp>“They don’t know history,” Brown told KQED. “Anybody who just cancels out and says no, they don’t respect the humanity of Black people, and they have a deep, deep problem. For we are human, and we deserve the same thing that other human beings have received in terms of repair for harms done.\u003c/p>\n\u003cp>“That’s what reparations is all about, repairing the harm that was done to an individual, to a people, to a situation.”\u003c/p>\n\u003cfigure id=\"attachment_12045566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12045566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/REVAMOS_BROWN-51-MO-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rev. Devon Crawford waves to the congregation at Third Baptist Church in San Francisco on June 22. He succeeds Rev. Amos C. Brown, who led the church for nearly 50 years. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retirement, Brown told me he’s working on a book chronicling his journey through faith, civil rights and public service.\u003c/p>\n\u003cp>“Retirement doesn’t mean I’m going to sit in a rocking chair and twiddle my thumbs,” he said. “I’ve always been an activist. I’ll just be working from a different corner of God’s Earth, so to speak.”\u003c/p>\n\u003cp>He’ll continue mentoring the next generation, including Crawford. “He’s got common sense, what we call motherwit. And he’s got empathy,” Brown said.\u003c/p>\n\u003cp>As San Francisco etches his name into concrete and memory, something deeper is happening.\u003c/p>\n\u003cp>This isn’t just about honoring the past — it’s about inheritance, the kind rooted in Sunday morning wisdom and weekday action, and in the understanding that some paths are meant to be walked together.\u003c/p>\n\u003cp>A street now bears Brown’s name, but the true monument lies in the choice to keep walking, to keep showing up, to keep returning to the places that shaped us — and continue the work that defines us.\u003c/p>\n\u003cp>And yes, I’ve been going to church — arriving right on time, communion wafer intact.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/meaghanmitchellsf/\">Meaghan Mitchell\u003c/a> is a San Francisco native and narrative journalist whose first-person reporting is deeply rooted in the communities she covers. She was an early team member at the San Francisco Standard and previously served as an editor at Hoodline. Her work has appeared in SFGATE, San Francisco Bay View and SFist, among other outlets. She covers arts, culture and community life in underrepresented neighborhoods — centering stories on engagement, cultural identity, and social equity, while highlighting the resilience of San Francisco’s Black and Brown communities.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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