Black History

Women’s History Month: Meet the Black Women Legislators Shaping California Policy

Since Yvonne Braithwaite Burke became the first Black woman elected to serve in the California State Assembly in 1966, 20 other African American women have represented their constituents in both houses of the California State Legislature with distinction. Many of them have gone on to make their marks in various political arenas at the state, local and national levels.

Published

3 years ago

April 2, 2023

Oakland Post

Assemblymembers Dr. Akilah Weber (D- San Diego), Mia Bonta (D- Oakland) Tina Mickinnor (D- Los Angeles), Senator Lola Smallwood Cuevas (D- Los Angeles) Assemblymember Lori Wilson (D- Solano). Photos courtesy of California Black Media.

By Mark Hedin
California Black Media

Many of them have gone on to make their marks in various political arenas at the state, local and national levels.

Take U.S. Congresswoman Barbara Lee (D-CA-12), who represented Oakland and adjacent communities in the State Assembly and Senate for eight years before winning the first of 13 terms she has now served in the U.S. House of Representatives.

Or Los Angeles mayor Karen Bass, also a California Assembly alumna, who became Speaker of the body in 2008 and served six terms in the U.S. Congress.

Congresswoman Maxine Waters (D-CA-29) represented South L.A. in the state Assembly and is serving her 17^th term in the U.S. Congress.

In 2023, five of the 12 members of the California Black Legislative Caucus (CBLC) are women. They are:

Lola Smallwood-Cuevas (D – Ladera Heights)

The only Black woman in the California State Senate, Lola Smallwood-Cuevas represents state Senate District 28, a small, densely populated section of Los Angeles County that includes Culver City and parts of mid-city Los Angeles and unincorporated Los Angeles County.

A former journalist and labor advocate, she worked in the successful Justice for Janitors campaign of the 1990s, and, during 15 years working at UCLA, she founded the Center for Advancement of Racial Equity at Work and co-founded the Los Angeles Black Worker Center, which became a model for similar organizations across the country, recognized by President Barack Obama.

In her first months as a state senator, Smallwood-Cuevas has introduced a package of worker and civil rights measures.

Among them is SB 627, legislation that would help workers laid off by a chain business to find work at other locations nearby. Another, SB 497, would offer workers whistleblower protection in cases of alleged wage theft or unequal pay.

Lori Wilson (D – Suisun City)

When she was elected mayor of Suisun City in 2018, Lori Wilson became the first-ever Black woman to serve as mayor anywhere in Solano County. She’d been vice mayor for six years.

Now, she’s chair of the CBLC after her election in April last year to represent the 11^th Assembly district, which straddles Solano and Contra Costa counties.

She used her background in finance and accounting to work with homebuilders, fair housing agencies and as Solano County’s auditor.

She serves on the Appropriations, Banking and Finance, and the Accountability and Administrative Review standing committees.

Akilah Weber (D – San Diego)

From the 79^th Assembly district is Akilah Weber, representing parts of San Diego, her hometown, and El Cajon, Lemon Grove, Spring Valley/La Presa and La Mesa.

After becoming first Black person ever elected to the La Mesa City Council in 2018, Weber left in early 2021 to run for the Assembly seat in a special election to replace her mother, Dr. Shirley Weber, who’d been named secretary of state. She won, and her mother swore her in. Akilah Weber was re-elected in 2022.

Weber is a doctor who founded San Diego’s Rady Children’s Hospital Pediatric & Adolescent Gynecology Division, heads the adolescent gynecology program at UC San Diego Health, and is an assistant clinical professor at UCSD.

In the state Assembly, she serves on six standing committees: Health, Higher Education Appropriations, Communications and Conveyance, and Water, Parks and Wildlife, Legislative Ethics Committee (co-chair) and Social Determinants of Health select committee (chair).

Tina McKinnor (D – Inglewood)

Tina McKinnor’s 61^st Assembly district spans communities in western Los Angeles County including Inglewood, Gardena, Hawthorne, Marina del Rey, Venice, Westchester, Westmont, West Athens and parts of Los Angeles.

She was elected to the state Assembly in July last year in a special election after the sudden resignation of Autumn Burke, herself a former CBLC vice-chair and the daughter of California Assembly alum and three-term U.S. Congresswoman Yvonne Brathwaite Burke. Burke cited COVID impacts on her family at the time for her resignation.

McKinnor, who had worked in the Assembly for years as Burke’s chief of staff, is now chair of the Assembly’s Public Employment and Retirement Committee, chair of the Los Angeles 2028 Olympic and Paralympic Games Select Committee, and a member of the Business and Professions and the Environmental Safety and Toxic Materials committees.

Mia Bonta (D – Oakland)

Mia Bonta ran for and won the 18^th Assembly district seat in Alameda County in a 2021 special election called after her husband, Rob Bonta, who’d held the seat since 2012, was named California Attorney General.

Bonta describes herself as a “proud Black Latina, raised by activists who protested outside the halls of power so that people like her could one day have a seat at the table inside.”

She earned her law degree at Yale, after studying there as an undergraduate. She earned her Ed.M from the Harvard Graduate School of Education.

Prior to being elected to the state Assembly, Bonta’s work revolved around improving educational outcomes for low-income students as CEO of Oakland Promise, a district-wide Oakland college and career prep program, and board president of the Alameda Unified School District.

She serves on six Assembly committees: Joint Legislative Budget, Public Safety, Human Services, Communications and Conveyance, Business and Professions and the Budget Committee, including two of its subcommittees: No. 5, Public Safety; and No. 6, Budget Process, Oversight and Program Evaluation.

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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

5 days 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

6 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.