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Framing Our Future: Liberty Bank Celebrates 50 Years
NNPA NEWSWIRE — The elder McDonald, served as president & CEO of Liberty Bank from its founding in 1972, leading and growing the Black-owned bank for the better part of 50 years until earlier this year, when his son Todd, a Morehouse College graduate who earned his MBA from Northwestern University’s Kellogg School of Management, picked up the mantle to lead Liberty into the future.
The post Framing Our Future: Liberty Bank Celebrates 50 Years first appeared on BlackPressUSA.
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By Anitra D. Brown | The New Orleans Tribune
Alden J. McDonald and his son Todd have at least two things in common. The first is that neither saw himself as a bank president. In fact, Alden McDonald says it took a novena and Dr. Norman Francis asking him three times to become the president of what would be the newly founded Liberty Bank & Trust before he said “yes.”
“I didn’t’ know whether I was prepared to run a bank.” Alden McDonald once told The New Orleans Tribune. “No one else had walked that plank.”
The truth – he was ready. A graduate of the LSU School of Banking and of Columbia University’s Commercial Banking Management Program, McDonald began his career at International City Bank in New Orleans in 1966, rising to the position of vice president for consumer lending. And during those six years, he zealously learned all he could about the industry, working 12- to 14-hour days.
International City Bank didn’t want him to leave, offering him a senior vice president position to urge him to stay, he says. Instead, he followed advice given to him by the young lady he was dating at the time, Rhesa Ortique, whom he went on to marry. She was the one who suggested he go to a novena in search of guidance and direction.
“So, I did the novena, and I made the decision to do this, right. I am 29 at the time, and to be honest with you, I didn’t know what the hell I was thinking.”
In contrast, it didn’t take a special prayer service for Todd McDonald to know he wanted to be his own boss one day; still, he didn’t see banking in his future. The enterprising youngster, who washed his parents’ friends’ cars while they visited to make extra money, always saw himself as a businessman. However, he thought banking was static and that it would not offer the diverse opportunities he wanted to experience… that was until he had the opportunity to shadow one of his father’s friends, Joe Canizaro, the founder of First Bank & Trust. It was then he realized there was more to banking than, well, banking.
“He brought me into meetings, and I saw how he used the bank as a platform to go into many different businesses. I mean he was building a city in Mississippi; he had the hospitality company; he had a construction company; health care — all these different businesses. And I was like, so you could run a bank and have all of these tentacles out there at the same time. Okay, I would never get tired of doing this.”
At the time, a younger Todd McDonald didn’t really see his father doing all of that at Liberty; but he understood why.
In 1972, with Dr. Norman Francis on its Board of Directors, Alden McDonald as President & CEO and $2 million in assets, Liberty Bank was founded to more Black New Orleanians and other under-served members of the community achieve their dreams. Today, Liberty has branches in 11 states and has $1 billion in assets.
“It was for obvious reasons — a lack of capital,” he says. “I’m sure he could have ventured off in many different ways, as well. But that experience provided me with a vision for myself. How do we leverage a bank charter? You know, I’ve been around my dad for 41 years; but I’ve only been employed with the bank for 19. I heard the stories about him helping people. And so, I’m like, you know, once you start applying the ‘helping people’ with the ‘making money’ and ‘helping other people make money’, it was an easy sell. I’ve dedicated my life to this. I wake up thinking about it. I go to sleep thinking about it.”
And with that, the other thing father and son have in common is that despite each man’s initial misgivings, running a bank is precisely what he has done or is doing.
With his son’s rise to bank president, Alden McDonald, continues to serve as the head of the Liberty Financial Holding Company.
It’s Always Been Huge
The elder McDonald, served as president & CEO of Liberty Bank from its founding in 1972, leading and growing the Black-owned bank for the better part of 50 years until earlier this year, when his son Todd, a Morehouse College graduate who earned his MBA from Northwestern University’s Kellogg School of Management, picked up the mantle to lead Liberty into the future.
The pair took a little time to catch up with The New Orleans Tribune recently to talk about what is now the nation’s largest Black-owned bank. Sitting at a table in the community room of the bank’s headquarters in New Orleans East, the elder McDonald began by mentioning a significant milestone Liberty Bank reached in recent years – $1 billion dollars in assets.
“It was his idea, not mine,” he says with proud smile and a little laughter, nodding in Todd’s direction.
Todd chimes in through the laughter, “That’s what we have to do as a bank to survive. If we don’t get bigger, the cost of operating just gets bigger and you can’t manage the expense side. So, it was very important for us to reach that milestone.”
“It’s a lot of money,” Alden McDonald says. “How many other people do we know that have a billion-dollar company? How many in the city of New Orleans. Just, when you think about it… the significance of it. It’s… it’s…
“Huge,” Todd interjects, finishing the sentence his father started.
“Huge,” Alden McDonald repeats reflectively. “You know, Todd and I, we talked five years ago when he took a real an active role at the bank. He was in charge of strategic planning and visioning. And his vision went beyond my wildest dreams. When he was pushing for a billion dollars, he was looking to make sure we could survive in the banking industry. When I got in the banking industry, there were 35,000 banks. Today, there are less than 5,000 banks. When I got into the business, there were 100 Black banks. Today, there are less than 20. Everything in the industry says a $200 million bank is not going to survive. A $500 million bank is not going to survive. So the benchmark he came up with was a billion.”
The achievement took more than just reaching $1 billion in assets. As Alden McDonald explains, in the banking industry, the rule of thumb is an eight percent capital to asset ratio. In banking terms, capital is the total equity a company has — assets minus liability.
“And then, a couple of years ago, the feds started sending signals. They wanted a 10 percent ratio,” the senior McDonald says.
When Liberty set out to grow to a billion in assets it only had about $60 million in equity. It needed at least $90 million.
It was Todd, who, while serving as Liberty’s executive vice president of corporate strategy, developed national partnerships that produced several new revenue streams that raised $30 million in capital for the bank.
All of this was taking place over the last few years with the pandemic as a backdrop and in the wake of the murder of George Floyd, events that prompted shifts in the nation, one of which included a bit of pressure put on the big boys of banking to help minority banks grow.
And Liberty’s plan for raising the equity it needed to support its growth was realized.
“If it was me, I would asked JP Morgan for $5 million, Citibank for $5 million, Wells Fargo for $5 million and Bank of America for $5 million. Todd goes in, he asks JP Morgan for $30 million. I said, ‘boy, you’re crazy?’ They ended up giving $18 million. Wells gave $5 million. Citi gave $5 million. Bank of America gave $2 million,” the elder McDonald recounts. “I would have been pleased with whatever; but because of the young mind and the young vision, he ended up getting $30 million of non-voting capital. Non-voting. It does not dilute one bit of ownership,”
Perhaps the only thing huger than Liberty Bank reaching that milestone – more than $1 billion in assets the equity to back it up – is the force the bank has been for its customers in New Orleans and across the country.
Even when its assets weren’t, Liberty’s impact has been huge from the start.
Forging a Path to Financial Freedom
The first Liberty Bank branch was a repurposed construction trailer located on Tulane Avenue.
If Alden McDonald wasn’t ready to lead a Black-owned bank in 1972, Black New Orleans was ready for one.
Beginning in the early 1960s, Alden McDonald and Dr. Norman Francis saw a Black community growing increasingly dissatisfied with inequity and looking for increased opportunity, especially on the economic front. They wanted mortgage loans and loans to start businesses or launch political campaigns without higher interest rates or resorting to subprime finance companies. And if they couldn’t find what they wanted in the mainstream banking industry, they would have to create their own.
That is why Francis asked a young Alden McDonald to leave his comfortable job and start his own bank not once, not twice, but three times — there was a need for a bank that would help more Black New Orleanians and other under-served members of the community achieve their dreams.
Liberty Bank was one of 42 African American-owned banks to open in the U.S. between 1962 and 1979, according to the National Bankers Association. They opened to serve communities that had been all but shut out of the mainstream. When the other banks refused to loan African Americans money or loaned it to them at extraordinarily high interest rates, Black-owned banks were there; and their influence was tangible from the very early history.
There is no telling how many Black New Orleanians own homes and operate businesses because Liberty Bank exists.
Norman Francis once said, “We had a dream to do something special in New Orleans. We started a community bank with a focus on an under-served population.”
From a construction trailer on Tulane Avenue, Liberty now has branches in 11 states and the cyber ability to conduct banking operations nationwide. Liberty Bank has withstood natural disasters and weathered national and regional financial crises. It has not only existed for 50 years, it has thrived. From $2 million in assets in 1972 to the largest African American-owned financial institution in the United States.
More importantly, here in New Orleans, and in other cities across the country, Liberty has helped individuals achieve their financial goals and financial freedom. That is what is meant by “Framing Our Future”, the theme of the bank’s 50-year anniversary.
Big Things Popping
The bank is also a player in helping business owners and investors make major moves. On the day The Tribune met with the McDonalds, they were gearing up for a meeting with a customer about a major project in downtown Minneapolis — the redevelopment of a one-million-square-foot building, Alden McDonald tells.
Financing those types of multi-million-dollar endeavors have become common practice for Liberty Bank.
Just before the pandemic, Alden McDonald says the bank launched a new loan product designed specifically to help African American business owners get into the airport concessions business.
“We were lending money to African Americans with airport contracts,” he says. “Now, we got in it at the wrong time, but we still made out pretty good. We loaned about $30 million to business owners with concessions in airports in New York, New Jersey, Dallas, Los Angeles, and Chicago. We had them all over. It’s helped those businesses grow their capital. When you grow capital, you can hire more people, more Black people. So, the whole pie grows. Despite the pandemic, we only had a problem with one loan and we didn’t lose any money.”
Then there is the project in Houston.
“The mayor in Houston has put together a housing effort there to build maybe 500 homes using all Black folks — the contractors, the developers. And we are financing them. We think that’s going to be a real big signature project with anywhere between $30 million and $50 million in financing from us. And we do a little bit more than just lend the money. For example, this one developer didn’t have much experience, so we put them in touch with another developer we were financing in Houston to partner with him. Then the city gave him a contract that wasn’t to his advantage. So, when we read it, in putting his package together, we said, ‘this ain’t gonna work’. So we helped him to go back to the city, had the city to rework his contract where it made sense and protected him from losing money.”
There are other examples. Too many to include in a single article.
In addition to banking, Liberty has its own insurance agency and a heavy equipment leasing company. It also recently launched its own commercial insurance brokerage firm.
“We intend to be the largest Black-owned commercial insurance brokerage in the country in the next five years,” Alden McDonald says. “What does that mean? It means we are starting another company that will employ additional people. We are going to be able to help other companies in that business to write bigger policies. There is a network of smaller Black-owned commercial insurance brokers across the country, and we are going to help those businesses create more jobs and grow Black wealth. And we’re going to make some money. I always say that you can’t do good, if you don’t do well.”
And if Liberty Bank has its way, it will be doing both well and good into the future.
“We don’t plan on taking another 50 years to reach another $1 billion in assets. He plans on getting there in the next five years,” Alden says, again nodding at Todd.
“My perspective is we have a long runway,” says Todd. “I mean, we have decades ahead of us. You know, it is a lot of work and we’re just taking it step by step. We know organizationally, we can’t be everything to everybody. So, we’ve got to choose our lane and commit to it. We have an amazing underwriting muscle. As my dad mentioned earlier, typically Black-owned institutions didn’t have access to capital. So, the focus is what did we do the first 50 years and how do we leverage that to do it bigger the next 50 years.”
And while Liberty certainly has big things popping, it continues to provide access to basic financial services such as personal checking and savings accounts and multi-faceted products for both individuals and small businesses.
Even as it celebrates 50 years and touts more than a $1 billion in assets, helping everyday people achieve financial freedom is still a primary focus of the bank, says Todd McDonald.
In fact, the smallest loan Liberty offers is $500, it’s the sort of small dollar loan at a low interest rate that Liberty provides to customers to keep them from falling prey to predatory lenders like those in the payday loan industry.
“That’s the least amount of money you can borrow. But to me, that’s the most important product that we have,” says Todd. “I don’t say that a lot, but I prefer to help the average person get out of debt. If I can help someone consolidate from $1,000 a month in payments down to $300 a month in payments, saving them $700 dollars a month, it’s better than making a $1 million loan to me. Now if we repeat that and get a 1,000 people at a time refinancing debt, that’s $700,000 a month back into the pockets of people that look like you and me. Then, we could have the same thousand people start to buy their own homes. Now, if we coordinate efforts like that across the country, we could really pick up some ground. it’s off to the races from that standpoint. So, we’re not just looking at big transactions.”
Celebrating 50 Years with a Golden Jubilee
Liberty Bank’s story of resilience, profitability and empowerment was showcased on Friday, Dec. 2, at Liberty’s “Golden Jubilee” celebration at the Mahalia Jackson Theater. The event was produced by Bright Moments, LLC and was directed by celebrated theater icon Tommye Myrick.
Norman Robinson and Sally Ann Roberts narrated the event that explored the unique role Liberty Bank has played in closing the wealth gap in America. The evening featured song, dance, spoken word and visual renderings that tell the story the African American experience.
The show was led by the musical arrangements of the New Orleans Jazz Orchestra under the direction of Grammy award winner Adonis Rose and featured Irma Thomas, Leah Chase, Jr., Chase Kamata, Sharon Martin, Phillip Manuel, John Boutte, Tonya Boyd-Cannon, the Mystics, the Franklin Avenue Male Chorus, the C Sharpe Gospel Ensemble, the Kia Knight Dance Ensemble, Stilt Walkers, African Drummers, Harold Evans, Gwendolyn Foxworth, Lady Tambourine, Erica Falls, Peteh the Poet, and a host of others.
The post Framing Our Future: Liberty Bank Celebrates 50 Years appeared first on The New Orleans Tribune.
The post Framing Our Future: Liberty Bank Celebrates 50 Years first appeared on BlackPressUSA.
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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens
TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.
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By Candace A. Gray | Tri-State Defender
The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.
Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.
“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”
With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.
“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”
Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.
Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.
The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.
Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.
“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”
Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM). “We began working with Dr. Jenkins in 2018,” he said.
Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.
One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.
The exhibit catalogue bears some of these artists’ stories, among other scholarly information.
The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.
Visit https://www.dixon.org/ to learn more.
Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.
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Grief, Advocacy, and Education: A Counselor Reflects on Black Maternal Health
SAN DIEGO VOICE & VIEWPOINT — Last month healthcare leaders, birth workers, and community members gathered to honor the legacy of Charleston native Dr. Janell Green Smith, a nurse-midwife and doctor of nursing practice who died in January from childbirth complications. She had participated in more than 300 births and specialized in helping Black women give birth safely.
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By Jennifer Porter Gore | Word-In-Black | San Diego Voice and Viewpoint
In 2024, the number of U.S. mothers who died as a result of pregnancy or childbirth dropped compared to 2023. But while slightly fewer Black mothers died that year, they still had three times the mortality rate of white women.
South Carolina’s rates of maternal deaths outpaced even the national rates. In fact, the state’s overall rate of maternal deaths between 2019 and 2023 was higher than all but eight states and the District of Columbia.
Last month healthcare leaders, birth workers, and community members gathered to honor the legacy of Charleston native Dr. Janell Green Smith, a nurse-midwife and doctor of nursing practice who died in January from childbirth complications. She had participated in more than 300 births and specialized in helping Black women give birth safely.
Her death shocked the community and her colleagues who are determined to address concerns about Black maternal health. The event also covered the importance of protecting mental health during grief and of men’s role in solving the maternal health crisis.
As both a therapist and a father, Lawrence Lovell, a licensed professional counselor and founder of Breakthrough Solutions, discussed ways the event’s attendees could process their grief over Green Smith’s death. He also shared ways male partners can advocate for women’s maternal health during pregnancy and childbirth.
Lovell spoke not just as a therapist but also as a father whose own family had briefly crossed paths with Green Smith. The event, he said, emerged organically from a moment of collective mourning.
Despite the grief, “it was still, like, a really beautiful event, a much-needed event, and it almost felt like we were all giving each other a collective family hug,” says Lovell.
His connection to Green Smith, Lovell says, was brief but meaningful during his wife’s pregnancy with their second child. Green Smith was practicing at the same birthing center where they had their child. She began practicing in Greenville a short time later.Even that short connection carried significance for Lovell, given the small number of Black maternal health professionals.
Lovell did not initially plan to become a mental health practitioner; he chose the career path after graduating from college, when someone suggested he consider psychology. His interest deepened when he noticed how few Black men work in mental health.
“Being Black man and playing football in college, there weren’t a lot of people that look like me talking about mental health,” says Lovell. “[I wanted] to give people that look like me an opportunity to work with someone that looks like them.”
Working with Expectant and New Parents
Lovell often counsels couples preparing for parenthood by, helping partners understand what a successful pregnancy, childbirth, and postpartum recovery look like. That often means helping women manage postpartum depression.
As a man, Lovell says, it’s “humbling” that a woman “just trusts me enough to work with me through their pregnancy or their postpartum recovery.”
In his work, Lovell has noticed how few men understand pregnancy before they experience it with their partner. Because early pregnancy symptoms are often invisible, he says, men may underestimate how much support a mom-to-be actually needs.
“Sometimes they may not realize they don’t know much about pregnancy and what to expect in those three trimesters,” Lovell says. “I tell a lot of the men that just because you can’t see [she’s pregnant] doesn’t mean that she won’t appreciate your intense support in that first trimester.”
Education about pregnancy and postpartum recovery, he says, can change how men support their partners.
Teaching Advocacy in the Delivery Room
Another major focus of Lovell’s counseling is preparing men to advocate for mothers during labor.
“Helping men understand what pregnancy looks like: what delivery is going to look like, and what are the realistic expectations that I should have of myself in postpartum,” he says.
Lovell encourages partners to be honest about their expectations for what will happen during delivery. He helps them prepare for the big day by discussing the birth plan and knowing how to quickly recognize problems. Clear communication, he says, prevents misunderstandings.
He regularly trains men to ask their partners detailed questions about their expectations during and after pregnancy. Advocacy in medical settings can be especially important and requires attention to details the mother may not be able to address.
“It’s always important to fine-tune things and truly understand what helps your partner feel most supported,” Lovell says. “Instead of guessing, you should ask.”
Lovell recalls a moment during the birth of his first child when he had to take that role.
During the delivery, “I felt like something wasn’t as sanitary as I’d like it to be,” he says. “I asked, ‘Hey, can you switch those out? Can you change your gloves?’”
Lovell has a succinct but powerful message he regularly shares with clients’ families, and he shared it with attendees at last month’s event.
“Just to believe women,” he says. “I’ve worked with different couples, and sometimes I’m not really sure that there’s enough empathy from the men.”
That includes how women express pain.
“If a woman says, ‘my pain is at a nine,’ just because how you would express yourself at a nine is different than how she’s expressing herself at [that level] doesn’t mean you shouldn’t believe her,” he says.
Empathy, he says, can change outcomes far beyond the delivery room.
“We’ve got to believe women when they’re talking about their experiences and their feelings and their pain,” he says. “I think there’s a lot that we can prevent if we empathize better.”
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Future of Florida’s Black History Museum in Limbo
JACKSONVILLE FREE PRESS — A proposal sponsored by Tom Leek, a Republican from Ormond Beach, has now passed the Senate in back-to-back legislative sessions. But the House version, filed by Kiyan Michael, a Jacksonville Republican, did not receive final approval in either year, effectively stalling the effort.
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March 24, 2026By
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Jacksonville Free Press
Plans to establish a long-awaited Black history museum in Florida are once again on hold after legislation needed to advance the project failed to clear the state House for a second consecutive year, despite repeated approval in the Senate.
A proposal sponsored by Tom Leek, a Republican from Ormond Beach, has now passed the Senate in back-to-back legislative sessions. But the House version, filed by Kiyan Michael, a Jacksonville Republican, did not receive final approval in either year, effectively stalling the effort.
Under Florida law, identical or similar bills must pass both chambers before heading to the governor’s desk. Without House approval, the legislation has been unable to move forward, leaving the project in limbo. Long journey, contested location.
The proposed museum, formally known as the Florida Museum of Black History, has been years in the making, with lawmakers and community leaders framing it as a long-overdue institution to preserve and showcase the state’s African American heritage .A central point of contention has been the museum’s location. St. Augustine — widely recognized as the nation’s oldest city and a site deeply tied to both slavery and early Black history — emerged as the leading contender. Supporters argue the city’s historical significance makes it a natural home for the museum. However, competing interests and regional considerations have fueled debate, slowing consensus among lawmakers.
While the Senate-backed measure has consistently advanced, the lack of alignment in the House has underscored ongoing divisions about how and where the project should take shape.
The holdup in the Florida House appears to be less about opposition to the museum itself and more about a combination of procedural bottlenecks, unresolved structural issues, and lingering disagreements over how the project should be formalized and governed.
Despite the legislative setbacks, Republican Gov. Ron DeSantis has publicly voiced support for the museum. Speaking last month during the unveiling of a statue of abolitionist Frederick Douglass in St. Augustine, DeSantis said the project would move forward “one way or another,” signaling an intent to see the museum built regardless of legislative hurdles.
The anticipated museum has already cleared several hurdles. St. Johns County signed an agreement last year with Florida Memorial University to use the land that once housed its campus last year’s legislative session netted $1 million in funding for St. Johns County to work on planning and design for the museum. However, its anticipated that a million $3 million is needed.
Still, without statutory approval to finalize key components — including governance, funding mechanisms and site selection — the project remains largely conceptual.
With the House bill failing again, the timeline for the museum’s development is unclear. Lawmakers could revisit the proposal in the next legislative session, but any further delays risk pushing the project back several more years. Advocates warn that continued inaction could stall momentum for a museum many see as critical to telling a fuller, more accurate story of Florida’s past. For now, the effort remains paused — caught between political support at the top and legislative gridlock within the Capitol.
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