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New Education Official Wants to Reform NCLB

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John King Jr., the new deputy secretary for the Department of Education, wants to reform the No Child Left Behind Act. (Freddie Allen/NNPA)

John King Jr., the new deputy secretary for the Department of Education, wants to reform the No Child Left Behind Act. (Freddie Allen/NNPA)

By Freddie Allen
NNPA Senior Washington Correspondent

WASHINGTON (NNPA) – John King, Jr., a highly-respected educator from New York City, says that teachers saved his life and in his new post as the deputy secretary at the Department of Education, he wants all children to have the support in school that he had growing up.

Both of King’s parents were life-long educators. His father, John King, Sr., was the first Black principal at an integrated school in Brooklyn, N.Y. and also served as a the deputy superintendent for New York City schools after the Supreme Court ruling in Brown v. Board of Education banned “separate, but equal” practices in public schools.

In elementary school, King used to ride to work with his mother, Adalinda, who worked as guidance counselor at the middle school. When King was in the fourth grade, his mother suffered a heart attack at work. That night he went to the hospital with his father and the next morning, his father broke the news to him. His mother was gone. She was just 48. It was hard for the younger King to understand at 8 years old.

“Losing my mom in a lot of ways was the moment when school took on this much larger importance in my life,” said King. School became the safe harbor from the turmoil in his home life that slowly deteriorated after his mother passed away.

His father, then in his 70s, started to forget things.

“I didn’t know why he would forget things,” King recalled, though he later learned that his father suffered from Alzheimer’s disease. “I didn’t know why he would be upset one moment and not upset the next.”

In an environment where there was a lot of instability, King said school was a source of stability, structure and support and for three years, from the fourth grade to the sixth grade, Alan Osterweil’s classroom anchored that stability.

In that class, King read the New York Times every day, memorized the capital and leader for every country in the world and performed Shakespeare. King said he felt free to be a kid.

“He set very high expectations for us,” said King. “Sometimes people think that kids will be overwhelmed by higher expectations, but I think that kids rise to higher expectations and one of the things that I experienced in his classroom was that his high expectations were motivating and encouraging to all of us. He also paid a lot of attention to a full range of subjects.”

King said that Osterweil saw his role as a teacher wasn’t just about conveying knowledge, but it was also about mentoring and supporting students.

John, Sr. died at 79, when John Jr., was 12 years old. He then lived with a half brother on Long Island and later, an uncle and aunt in Cherry Hill, N.J.

King said that he carried the lessons he learned in Osterweil’s class with him when he taught his own social studies class and co-founded a charter school in Boston, Mass., after attending Harvard University and earning a master’s degree at the Teachers College at Columbia University in New York.

Following in his parents’ footsteps, King dedicated his life to education, rising through ranks to become the first New York State education commissioner of African American and Puerto Rican descent in 2011. King was recently selected to become the deputy secretary of the Department of Education.

“Not only am I here doing this today because of that teacher, but I’m alive, because [Osterweil] provided stability during that period in my life,” said King.

In his new role, King will manage the agency’s major initiatives that includes working to revise President George W. Bush’s 2002 “No Child Left Behind” (NCLB) law.

King noted that, by some measures, student achievement has improved since NCLB updated the Elementary and Secondary Education Act (ESEA), originally signed into law in 1965.

According to the National Center for Education Statistics, high school graduation rates for Black students (measured as the average freshman graduation rates) increased from 59 percent in 2006 to 68 percent in 2012, compared to White students who saw their graduation rates rise from 80 percent to 85 percent over the same time period.

The 2014 study “Building a Grad Nation” reported that when researchers began analyzing the effects of “dropout factories,” defined as schools where less than 60 percent of the students were graduating, almost half of all Black students attended one of them. By 2012, the report said, the number of Black students attended one of those schools had been slashed in half to 23 percent.

King said ESEA is really a civil rights law that was intended to ensure equity for all students across the country and there is still a lot of work to do.

“One of the problems with the NCLB law is that it focused just on absolute performance,” said King. “What we’ve tried to do at the department with the ‘waiver process’ is to focus on growth.”

Through the waiver process, the Obama administration freed more than 30 states and Washington, D.C. from NCLB’s stringent testing requirements, which often faced sharp criticism from educators and school administrators. Exempt school districts tracked the individual progress of students independent of how they ranked against other students on a standardized test.

More than a decade since NCLB was enacted, civil rights groups and Washington lawmakers are now focused on improving it.

Senator Lamar Alexander (R-Tenn.), chairman of the United States Senate Committee on Health, Education, Labor and Pensions, recently issued a draft proposal aimed at reforming NCLB.

He suggested shifting more responsibility for designing programs that measure student achievement to state and local jurisdictions and also proposed limiting the Education Secretary’s ability to craft guidelines that direct instructional material, evaluation systems and “definitions of teacher, principal, or school leader effectiveness.’’

While Senator Alexander’s proposal shifts responsibility for targeted funding for at-risk students and teacher evaluation tools back to the states, civil rights groups want more federal oversight.

Nearly 30 civil rights and education advocacy groups united to express their concerns about the reauthorization of the ESEA in a joint statement.

The coalition recommended that each state provide annual assessments for all students in the third grade through the eighth grade and high school and that targeted funding be used to meet the needs of the most vulnerable children in our nation’s schools including youth in juvenile and criminal justice system. The group also said that states should expand data collection and reporting to parents and the public on student achievement, course-completion and graduation rates.

Marc H. Morial, president and CEO of the National Urban League, said his organization is deeply opposed to Senator Alexander’s approach to reauthorize ESEA.

“When President Johnson signed ESEA into law he said that the bill represented ‘the commitment of the federal government to quality and equality in the schooling we offer our young people,’” said Morial in a statement. “Yet, with this draft, Chairman Alexander moves our nation in the opposite direction and strikes at our most cherished civil rights principle: that every child has fair and equal access to a quality education regardless of family income, ZIP code, disability, language or race.”

Morial said that lawmakers must rewrite the bill and commit to strong federal oversight in education and equity in access to high quality instruction and resources for all students.

Morial continued: “This partisan bill, drafted with little input from civil rights partners, cannot be tweaked to meet the needs of the communities in which we serve. We believe that Chairman Alexander’s ESEA draft moves us backwards—it ignores equity, guts federal accountability and shifts resources away from children in most need.”

King echoed Morial’s concerns and said that the fear is that some of what has been proposed would be a step backwards from equity and opportunity.

“We know that for our kids, their best shot is if they have a high quality education that prepares them to be successful after they graduate from high school,” said King. “We have no future as a country if we don’t ensure that African American students get a high quality education, that Latino students get a high quality education, that our English language learners get a high quality education. Our future depends on ensuring that every student has the full range of opportunities.”

Art

After 10-Year Wait, Fillmore Heritage Center Reopens in San Francisco

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

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Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.
Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.

By Linda Parker Pennington, Special to The Post

Last Saturday morning, the cloudy skies cleared just as the highly anticipated ribbon-cutting ceremony began, marking the reopening of the Fillmore Heritage Center at 1330 Fillmore and Eddy.

The complex – which had once included Yoshi’s Jazz Club, the Lush Life Art Gallery, the Koret Heritage Lobby, a 54-seat microcinema, and the Black-owned 1300 On Fillmore restaurant – shuttered in 2015.

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

“The Fillmore is the most important neighborhood in San Francisco’s history for centering Black culture, music, business, and community, and has shaped this City and influenced the entire country,” said San Francisco Mayor Daniel Lurie to the gathering of more than 100 community leaders, business owners, and public officials. “This building reflects the deep roots of the Fillmore. Urban renewal left deep scars that are still felt today. This Center celebrates a strong Black community that continues to shape San Francisco. I am proud to join the community as we reopen the Fillmore Heritage Center.”

Although the previous stakeholders will not be returning to the center, spaces are available for nonprofit organizations and ventures, such as Fillmore native Ericka Johnson’s Honey Art Studio.

“This Center will be an economic engine and a thriving venue that shines a light on the Black-owned businesses in this neighborhood and lifts the entire district,” Lurie continued. “Our City is committed to this community for the long term.”

“We’re excited to collaborate with the City to finally reopen these doors,” said Ken Johnson, a videographer and community leader who’d been lobbying for the reopening of the center. “It’s an opportunity to showcase the entrepreneurship and creative spirit of this ‘Harlem of the West’ and the ‘Rebirth of the Cool,’ grounded in our uniquely gifted Fillmore community.”

This month, through its Office of Economic and Workforce Development, the city will begin renting the building’s noncommercial spaces for pop-up events celebrating local talent, arts, and entertainment primarily centered in the Fillmore.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

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Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.
Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith.  Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold.  No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.

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Activism

Oakland Post: Week of June 3 – 9, 2026

The printed Weekly Edition of the Oakland Post: Week of June 3 – 9, 2026

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