National

Starting at a Black Newspaper, Dana White Is the First Black Woman Chief Communication Officer at a Major Automaker

“Growing up, I always knew about the power of communication, the power of words,” she said, talking about her childhood in Charlottesville, Va. “My grandfather, who was born in 1896, founded the oldest Black newspaper in the state. I used to cut ad sheets every month and write copy and process black-and-white photos [at the paper]. The entrepreneurial spirit runs deep in me and my family.”

Published

5 years ago

February 25, 2021

Kiki

Dana W. White began her professional life helping her grandfather run an African American newspaper. (Carol Larsen/Zenger)

As Hyundai North America’s first Black chief communications officer, Dana W. White knows what it is like to have two feet in two worlds.

While the weekly Black newspaper, the Charlottesville-Albemarle Tribune, is gone, the family’s entrepreneurial spirit lives on. “The environment I grew up in, my family, was that there was never just a pot of gold waiting for me at the end of the tunnel,” she said. “It’s in my DNA – to make it happen for yourself.”

Dr. Ben Chavis runs the trade group for African American newspaper publishers. “The National Newspapers Publishers Association salutes Hyundai for its decision to elevate an African-American woman leader to the position of Chief Communications Officer. In this year where the focus is on the empowerment of all women, Dana White represents and embodies the best of Black America,” he told Zenger News of White.

She studied hard in college, taking the toughest courses on purpose even if they were scheduled early in the morning and required long walks across Chicago wind-chilled campus. Those courses included learning to read, write and speak Mandarin, the mostly widely used of the Chinese-language dialects. She majored in Chinese history at the University of Chicago.

After college, she moved to Wash., D.C., without a job and worked as an intern and a temp to pay the bills while she applied for jobs on Capitol Hill.

Now Dana White runs North American communications for Hyundai Motor Company, a South Korean car maker that builds more than half of its vehicles at its plant in Alabama and employs some 25,000 people in the United States. She joined the Zenger News advisory board in 2019.

White sees herself as a cross-cultural bridge. At Hyundai Motor North America, she is the chief communications officer—a first for Korean automaker in the U.S. She oversees communications for Hyundai Motor North America headquarters and all of Hyundai’s North America Affiliates including Canada and Mexico, Hyundai Motor Manufacturing Alabama, Glovis (Hyundai’s Logistics Operations), Mobis (Hyundai Parts Operations), Hyundai Capital and the office in the Wash., D.C. White also has strategic oversight of Hyundai’s luxury automotive brand Genesis, the first SUV for the industry’s newest luxury brand.

“When I joined Hyundai a year ago, I knew I needed someone who understood decision-making at the highest levels, storytelling and how to work across cultures seamlessly to deliver results. So, I called Dana,” said Jose Munoz, Global COO of Hyundai Motor Company and president and CEO of Hyundai Motor North America. “It’s rare to find one person with all the skills, talents and experiences that she has. And she has a proven track record of success. In a few short months, Dana has already made a big difference in how we operate, communicate and tell the Hyundai story.”

Ultimately for White, she said her passions are education, excellence and empowerment. “I can still hear my grandfather’s gruff voice saying, ‘Mouse, I want you to be a smart little girl. Learn everything you can.’ I think about everything he survived, all the limits placed on his life and how, if he could see me now—a man who was proud to put pictures of my nursery school graduation in the paper—I know he’d say…‘So, Mouse…what’s next?’

“The thing about me is that I’m propelled by history and obsessed with the future. I’m passionate about ideas and a mission. I want to see people move forward—know their past and explore their future,” she said. “It’s in my family—this spirit of perseverance. I feel like they handed me a baton. They ran hard and ran fast. They carried the baton as far as they could go. Now, it’s my turn to run faster and farther and pass the baton to the next generation. I say, ‘When you stand on the shoulders of slaves, there’s no slouching.’”

Kiki

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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

26 minutes 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

23 hours 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.