Black History

Descendants of Enslaved Africans to Receive $50 Million as Part of Wealth-Building Initiative

Published

3 years ago

July 19, 2023

Oakland Post

Slave deck of the ship Séraphique Marie. Public domain photo.

By Niara Savage, published in the Minnesota Spokesman-Recorder, an NNPA member

The promise of 40 acres and a mule

An ambitious wealth-building initiative will provide 800 Black residents of Minnesota, South Dakota and North Dakota with $50,000 grants over the next eight years to support economic justice and financial well-being for descendants of enslaved Africans during the trans-Atlantic slave trade.
The $50 million Open Road Fund, financed by the Bush Foundation headquartered in St. Paul, is intended to address race-based economic disparities and cultivate Black wealth. Indeed, the grants should not be labeled as “reparations” because the funds are simply not enough to repair the generational harms inflicted by the institution of slavery, said Danielle Mkali, senior director of community wealth-building at Nexus Community Partners. The nonprofit is stewarding the funds through community engagement and disbursement.

“It shares a lot of the spirit of what people think of when they think about reparations, and the reason why we are being so clear about distinguishing the Open Road Fund from reparations is that, as it’s designed now…it’s not nearly enough in terms of reparations for what is owed to Black descendants of enslaved African people,” Mkali said.
“What reparations should do and will do is impact every descendant of enslaved African people. It would be a profound and significant apology from our state governments, from our national governments. There would be a profound investment financially, educationally, with all kinds of different resources that attempt to acknowledge what descendants of enslaved African people have endured, and what our ancestors have endured,” Mkali added, noting that the fund will only reach about 100 people each year through 2031.

A 2022 study by WalletHub found that Minnesota has the third-largest racial wealth gap in the country behind Wisconsin and Washington, D.C. In 2018, White Minnesotans’ median household income was $73,027 while the median Black household income was less than half that figure at $36,849.
“We don’t want people to think, ‘Oh well, the Black folks in Minnesota, North and South Dakota are good now.’ We aren’t,” Mkali said.

Earlier this year, the St. Paul City Council took a step toward addressing racial disparities in the city when it established the Saint Paul Recovery Act Community Reparations Commission to serve as an advisory body to the city council and mayor on repairing damage caused by systemic racism in the city that led to racial disparities in generational wealth, homeownership, health care, education, employment and fairness within the criminal justice system among Black descendants of enslaved Africans.

Recipients of the $50,000 Open Road Fund grants can use the money for a variety of wealth-building projects, including buying a home, paying off debt, estate planning, investing in life insurance, covering tuition costs or starting a business. People can apply for the grants as individuals or as a part of a group on the Nexus Community Partners website (https://www.nexuscp.org/open-road-fund/).

Applicants’ goals must be aligned with one of five categories of wealth-building including housing and housing stability, education, financial well-being, health and healing and ownership and economic justice.
The application for the Open Road Fund opened on June 19 (Juneteenth) and will close on July 28. To be eligible, applicants must be aged 14 or older, a resident of Minnesota, South Dakota, or North Dakota, and a descendant of an African person enslaved during the trans-Atlantic slave trade. There are no income caps or minimums. A separate $50 million trust aims to support Native and Indigenous people in the region.

In a two-part process, applicants will first complete initial registration that confirms eligibility for the grant and then discuss how they hope to use the money to achieve their wealth-building goals. A diverse panel composed of individuals who also meet the eligibility requirements for applicants will review applications.
After passing the initial application phase, 100 applicants will be selected at random to receive the awards. “If you’ve completed the application fully, and you’ve said what your wealth-building project will be, you will be put into the randomization tool,” Mkali said. “We’re not saying one wealth-building project has more merit than another wealth-building project.”

Single parents, people with disabilities, formerly incarcerated individuals, senior citizens, and members of the LGBT community are especially encouraged to apply. Recipients will be required to attend orientation and training workshops and complete an evaluation survey one year after receiving the funds. They’ll also have access to educational wealth-building webinars.

Nexus Community Partners hopes the Open Road Fund will encourage more funders to release dollars directly into the Black community.
“The stipulation from the beginning from the Bush Foundation was that the dollars needed to go directly into individual’s hands and not be granted to nonprofit organizations. The purpose of the fund would be to directly impact people’s individual wealth-building,” Mkali said.

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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.

Published

17 hours ago

June 10, 2026

bpusa-syndication

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

2 days 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.