National

Whites Don’t Have to Pretend to Be Black to Lead an NAACP Chapter

Published

11 years ago

June 24, 2015

By Jazelle Hunt
NNPA Washington Correspondent

WASHINGTON (NNPA) – If Rachel Dolezal had looked around, she would have discovered that a White person does not have to pretend to be Black in order to lead an NAACP chapter. In fact, she would have to look no farther than several states south, to Arizona, to see that a White man, Donald Harris, is president of the Maricopa County NAACP.

Dolezal served as president of the Spokane, Wash. NAACP branch of the NAACP until her parents disclosed that their estranged White daughter was passing as Black. The shocking disclosure created a national uproar – not about her being White, but her living a lie – and led to her resignation.

As president of the Phoenix-based NAACP branch, Donald Harris was not amused.

“I think there may be some mental health issues,” he said. “[Dolezal] has done some good things, and she’s also done some bad things. But she did them knowingly. [She’s become] a joke, and that’s a shame. But that reflects more on her than it does on the NAACP.”

Paul Krissel, a White man who has served as treasurer of the Salem-Keizer NAACP chapter in Oregon, agrees.

“[A] commentator said, ‘It’s like a car crash. We love a car crash. Why don’t we spend this much time looking at the work of the NAACP? All of a sudden you want to have a conversation about racial identity because a White woman converted herself over to Black?’ These conversations have been going on for years, and all of a sudden the mainstream is interested in them because there’s a car crash.”

The NAACP, the nation’s largest surviving civil rights organization, was founded in 1909 by 60 people, most of them White liberals. Seven of the founders were Black, including W.E. B. DuBois, Ida B. Wells-Barnett and Mary Church Terrell.

William Monroe Trotter, the crusading editor of the Boston Guardian, helped form the NAACP but quit because he thought it was being controlled by Whites. Trotter focused on reviving the National Equal Rights League, an all-Black civil rights organization started in 1864 by Frederick Douglass, Henry Highland Garnett, and John Mercer Langston, among others.

The NAACP did not have its first African American executive secretary (now called president) until James Weldon Johnson assumed the post in 1920.

In December, Donald Harris, a White, 77-year-old lawyer and Vietnam veteran, was elected to succeed Oscar Tillman, who had headed the Maricopa County, Arizona NAACP branch almost three decades. Born in Brooklyn, N.Y. to Jewish parents who were also members of the NAACP, Harris has been a member and volunteer of the Maricopa County chapter over the past 50 years.

Even so, Harris’ race matters. Someone made that clear at the very first chapter he joined while working at Camp Pendleton in California, after returning from the war.

“In the beginning…I joined the [North San Diego County] branch of the NAACP. I used to go on Wednesday nights and I was the legal adviser,” he recounted. “One night I stood up and said, ‘I think this is what we ought to do.’ And a woman who was a member said, ‘I’m tired of White people telling us what we need to do.’ And I just said, ‘Thank you very much ma’am, you just freed up my Wednesday nights.’ And I took off.”

Harris’ race came up again when he was elected the new branch president in Arizona by a 19-to-0 vote (with four abstentions). By then, he had spent many years as volunteer and nearly 15 as a board member. Still, there was an “unpleasant meeting” in which Black leaders, elders, and pastors, who were not members but had a lot of influence in the community, proposed ways to undermine or recall his presidency.

“There was a hunt for a new president but nobody…wanted to do the work. I did not want to be president…but it was such an embarrassment [for the chapter]. So I said, ‘I nominate myself,’ waiting for somebody to say, ‘How about me.’ But nobody did,” Harris said. “Then a couple of people, after the fact, started saying, ‘Gee, we wanted to be president.’ And therein lies the rub.”

There were also death threats, both at the time of his election, and recently, as he has made a few national media appearances regarding the Dolezal saga.

But his race has also mattered in a positive way, which writer and commentator, Michaela Angela Davis pointed out last week when she and Harris appeared on CNN’s Anderson Cooper 360 together.

“What [Harris] said is it – using his White male privilege to help the American project. That’s what [Dolezal] could have done,” she said.

For Harris, that truth was hard to hear.

“It is unpleasant, but true. I can use my leverage in the White community to push civil rights,” he said. “Cindy McCain lives here, she owns Anheuser-Busch – I can go to her and say, ‘I need $70,000.’ I can hit up my fat-cat friends. I can ask $25,000 from the Fiesta Bowl, and we’ve never gotten that much from them. I could go places where African Americans couldn’t go.”

Paul Krissel, a former treasurer of the Salem-Keizer NAACP chapter in Oregon, has had similar experience as a White executive member and volunteer. He’s spent approximately 40 years working and fighting for social justice with local and national labor unions and other organizing groups. Now “semi-retired,” he’s been volunteering heavily with the NAACP for the past five or six years, planning events and serving in general.

“The challenge is always to help well-meaning people get beyond, ‘I want to do good for somebody else,’ to, here’s the social construct that creates these patterns of discrimination and oppression in society. This has to be the work of White people challenging White people. I have the credibility to challenge White people in a way a person of color wouldn’t be able to,” Krissel stated.

“If I just go hang out with people of color, hang out at these organizations, and feel good about myself for being involved in that work, but I’m not going back out to my peers…then I’m really not doing the work.”

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Oakland Director Boots Dazzles Once Again in ‘I Love Boosters’

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

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5 hours ago

June 10, 2026

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Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.

“I feel lonely,” Keke Palmer’s character Corvette says in the first few minutes “I Love Boosters,” the new comedy adventure film from Oakland-based director Boots Riley.

“I wish I could feel lonely,” Naomi Ackie’s character Sade responds. “Try having kids.”

“I Love Boosters” teems with kaleidoscopic colors, sharp playful social critique, otherworldly plot twists, and fast-paced action, but it’s grounded in its main characters’ simple and relatable motivations: They want to be less isolated, and more free to pursue their own creative endeavors.

They’d like to design clothes and run a fashion boutique, but, unfortunately, they’re mostly busy surviving. Corvette and Sade, along with Mariah, played by Taylour Page, hustle and scheme through their brilliant scrappy organized crime group, the Velvet Gang. The gang regularly boosts clothes in the Bay Area and sells them at discounted prices.

Riley portrays the gang in a positive light in “I Love Boosters,” echoing the sentiment and title of a song he recorded 20 years ago with his hip-hop band, The Coup, where he praises boosters for providing poor communities with nice clothes they can afford: like a Robin Hood of the ’hood. But while morally righteous, materially, the gang is troubled. Corvette is haunted by unpaid bills and fears getting kicked out of the building where she squats, a shuttered fast-food chicken joint.

One thing that separates Riley’s film from most others about criminal gangs is that the Velvet Gang’s members work for a living. Theirs isn’t a greedy fantasy of becoming filthy rich, or for one last hit: Boosting is a job that still doesn’t pay nearly enough.

Visually, the film is a mix of psychedelia, afro-surrealism, noir, and perhaps a comic book.

The villain, Christie Smith, played by Demi Moore, an evil genius billionaire and fashion designer who runs the expensive clothing company the gang boosts from. She repeatedly appears on the news to put a target on the Velvet Gang members’ backs. When the gang ends up connecting with those who Christie directly exploits –workers here in the Bay Area, but also those in sweatshops overseas– the fight against Christie can commence; and uncoincidentally, Corvette starts to feel less lonely.

I don’t want to say much about that fight, but it’s delightful. Sci-Fi elements (which appear connected to Marxist theory) enter into the narrative to tie what’s become a pretty scatterbrained story together. Grounded by Palmer’s acting, “I Love Boosters” is a total joy and a refreshing break from the typical narratives we see these days. It’s totally over-the-top, but it knows it is.

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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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6 hours ago

June 10, 2026

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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.

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.

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.

Published

1 day ago

June 9, 2026

Oakland Post

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.

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 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.