Thanks for your patience during our recent outage at scalar.usc.edu. While Scalar content is loading normally now, saving is still slow, and Scalar's 'additional metadata' features have been disabled, which may interfere with features like timelines and maps that depend on metadata. This also means that saving a page or media item will remove its additional metadata. If this occurs, you can use the 'All versions' link at the bottom of the page to restore the earlier version. We are continuing to troubleshoot, and will provide further updates as needed. Note that this only affects Scalar projects at scalar.usc.edu, and not those hosted elsewhere.
(Dis)location: Black ExodusMain Menu(Dis)location: Black ExodusHarlem of the WestPublic HousingRedevelopment of the Fillmore SplashThe Fight for Education Justice in San Francisco Public Schools SplashEnvironmental JusticeBayview Hunters PointAnti-Eviction Mapping Project
12019-09-29T16:48:01-07:00Mark Harris on Redevelopment In the Fillmore.2plain2019-09-29T16:50:32-07:00Artist Statement San Francisco is a city that has been the setting for many crime fiction novels and film noir murder mysteries. The City itself is often portrayed as a character in the story. Shortly after World War II San Francisco became the backdrop for a real-life crime spree, one of the longest running and most tragic of the 20th Century. The San Francisco Redevelopment Agency began urban renewal projects in the Fillmore District in 1953, slowly and methodically killing the economic, social and cultural hub for African Americans living there over the next 50 plus years. This cultural homicide was organized and carried out by city planners, mayors and business leaders through institutional systems in which African Americans at the time had little if any access to. Though valiant efforts were made by residents to resist the destruction of their community, urban renewal and the structural systems behind it wiped out the rich culture of Black Fillmore, and the impact of that is still being felt today. Mark Harris
