
The house color that tells you when a neighborhood is gentrifying
If you live in an American city, chances are you have seen this house:
Its exterior is gray with monochromatic accents.
Maybe there's a pop of color — a red, blue or yellow door.
The landscaping is restrained, all clean lines and neat minimalism.
Sleek metal address numbers appear crisp in a modern sans-serif font.
Some might call it elegant, others boring. The look itself is purposely unremarkable. Real estate agents and paint companies use words such as 'quiet,' 'calm' and 'neutral' to describe it.
But many longtime city-dwellers see this physical transformation of residences to muted tones and know what they signal: demographic, social and economic change.
Rowhouses in D.C., craftsmans in Nashville, Victorian-style homes in San Francisco and many other styles of houses in gentrifying neighborhoods across the country have increasingly been stripped of their colors and painted shades of gray, altering the aesthetics of American cities.
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In some neighborhoods, the grayification of homes has been swift and stark — and the cause of conflicts.
In the nation's capital, residents have seen the change steadily sweeping their communities lot by lot: A neighbor's red-brick rowhouse goes up for sale with a fresh coat of paint. A residential block that once had vivid murals painted on the sides of buildings begins to look less colorful, more monochrome.
Homes in vibrant colors stand out next to several painted in shades of gray on Rhode Island Avenue NE in Washington. (Bill O'Leary for The Washington Post)
A Washington Post color analysis of the District found that in neighborhoods where other markers of gentrification have spiked over the past decade — increased home prices, more noise complaints and the displacement of Black residents — the number of gray homes has notably increased. The analysis looked at houses that were newly built or built on lots where houses had been torn down. Homes that might have once been painted reds, yellows and browns have given way to houses in hues that range from Shark Fin to Deep Space. Pictures of homes analyzed by The Post were collected using Google Street View Static images and analyzed to find the most common colors represented across homes by ward. The analysis allowed tints and shades of colors to be grouped into color families.
An abstracted map shows the prevalence of monotone colors in new or renovated homes in the District.
Popular paint colors within the District
Swatches are sized by the number of newly constructed homes painted that color in each ward from 2017 to 2023.
4
Ward 4
3
1
5
25
34
2
6
7
21
28
18
8
27
17
Ward 5
Ward 3
37
30
61
Ward 1
46
33
29
29
21
44
17
22
25
56
17
17
16
16
24
17
43
40
Ward 6
Ward 7
Ward 2
14
20
35
50
12
59
19
88
7
26
15
7
47
22
58
18
35
82
49
Ward 8
38
33
51
69
34
50
29
39
28
In every ward, the most popular new exterior paint colors have been desaturated tones. Gentrification in Wards 7 and 8 has led to many new and rebuilt homes. More than half of them are painted white, black or gray.
Note: Analysis is based on color codes and differentiates between shades that may appear similar.
TIM MEKO/THE WASHINGTON POST
Popular paint colors within the District
Swatches are sized by the number of newly constructed homes painted that color in each ward from 2017 to 2023.
4
Ward 4
3
1
5
25
34
2
6
7
21
28
8
18
27
17
Ward 5
Ward 3
37
30
Ward 1
61
46
33
29
29
21
44
17
22
25
56
17
17
16
16
24
17
43
40
Ward 6
Ward 2
Ward 7
14
20
35
50
12
59
19
88
7
26
15
7
47
22
58
18
35
82
49
Ward 8
38
33
51
69
34
50
29
39
28
In every ward, the most popular new exterior paint colors have been desaturated tones. Gentrification in Wards 7 and 8 has led to many new and rebuilt homes. More than half of them are painted white, black or gray.
Note: Analysis is based on color codes and differentiates between shades that may appear similar.
TIM MEKO/THE WASHINGTON POST
Popular paint colors within the District
Ward 4
4
25
Swatches are sized by the number of newly constructed homes painted that color in each ward from 2017 to 2023.
34
3
1
5
21
28
2
6
7
18
27
8
17
Ward 5
Ward 3
61
37
30
46
Ward 1
33
29
21
29
44
56
17
22
17
25
17
16
16
43
24
17
40
Ward 6
Ward 7
Ward 2
14
50
35
20
59
88
12
19
7
7
26
15
47
58
22
82
18
35
49
Ward 8
In every ward, the most popular new exterior paint colors have been desaturated tones. Gentrification in Wards 7 and 8 has led to many new and rebuilt homes. More than half of them are painted white, black or gray.
33
69
51
38
34
50
Note: Analysis is based on color codes and differentiates between shades that may appear similar.
29
39
28
TIM MEKO/THE WASHINGTON POST
Cities over the past two decades have been transformed by demographic change that has remade the way urban centers are planned, operated and perceived. An influx of affluent and predominantly White residents moving into inner-city neighborhoods has flipped the defining 20th-century phenomenon of White flight on its head and, in cities such as D.C., has changed the makeup of neighborhoods that were once majority — and, in some cases, almost exclusively — Black. While these shifts have led to greater diversity and affluence and, in some cases, improved neighborhood amenities, they have also brought in new concerns and an unspoken question among longtime residents: Do I still belong?
As of 2023, the most recent year for which national Census Bureau data estimates are available, about 33 percent of the District's homeowners identified as Black. That's a notable drop from more than a decade earlier, in 2010, when nearly 45 percent of homeowners did.
Meanwhile, White homeownership rates in the city have continued to climb. In 2023, White residents accounted for 51 percent of D.C. homeowners, up from about 48 percent in 2010, census estimates show.
Academics who study gentrification and its visual markers say the aesthetics of gray, modern homes serve as a strategic lure.
'It all comes down to this perception of wealth and luxury, this idea that neutrals indicate status — painted brick takes more to upkeep than regular brick. If you have a light-gray or white house, it signals you can afford to keep it clean,' said Libby Rasmussen, a color enthusiast who lives in the District and owns Libby & My, a home decor company, and the city's largest vintage store, Vintage Vintage Vintage.
'Black homeownership in D.C. has been shrinking for years, which means the very culture of these neighborhoods has been changing,' said Rasmussen, who is White. 'When we see house flippers try to take color out of a house, or a neighborhood, they're making it more palatable to mostly White people.'
'D.C. has really been changing'
In interviews with nearly a dozen D.C. natives, opinions about the proliferation of these gray houses — and the changes that have accompanied them — were mixed. Many highlighted the pluses of a diversifying neighborhood and how things have improved since more affluent residents moved in next door: The city seems more responsive to neighborhood issues, the streets are cleaner, and the value of their own homes has increased. But some pointed to changes that made them feel, at times, uncomfortable in places where they have lived for decades.
Peggy Lovett, 59, is a D.C. native who lives on a short block tucked inside Eckington, a hilly, largely residential community with homes from the late 19th century. The area is dotted with churches and mom-and-pop businesses, and the bustle of North Capitol Street, one of the city's main arteries, is close by.
Lovett, who is Black, has seen the District transform many times over, but her neighborhood had remained a relative constant. That is, until the pandemic hit. Soon, she said, the houses along her slice of Eckington, a majority-Black neighborhood, began to look different. Her red-painted home used to be the norm. Now, its vividness stands out.
(Michael S. Williamson/The Washington Post)
'Majority of these houses down here used to be red — different shades of red or something bright; the house across the street was a lime green,' Lovett said. 'Now, they have these houses that are black and white, gray, all these colors that were never around here.'
She and some of her longtime neighbors have come to see that gray as offering a clue about whom they might find on the inside.
'I see a house going up that's that color, and I know they have money,' said Lovett. 'It's a great big change, but it's not just in my neighborhood — D.C. has really been changing.'
Lovett's home and her neighbor's have remained a vibrant color. (Michael S. Williamson/The Washington Post)
The Black population in the part of Eckington where Lovett resides dropped from 97 percent in 1990 to 40 percent in 2023, according to census data. Over the same period, the percentages of White, Hispanic and Asian residents all rose, though the gain made by White people was the most significant. They went from making up about 2 percent of the community in 1990 to about 39 percent in 2023.
The area has also become markedly more wealthy. Average monthly wages have increased from $5,700 in 2005 to $9,400 in 2023, according to inflation-adjusted workforce data from the Census Bureau.
For Lovett, the transformation has brought a mixed bag of experiences: Neighborhood nuisances such as neglected alleyways, trash-littered streets and petty crime have decreased. But issues of racial profiling and mistaken identity — problems that were less common when her block was nearly all Black, Lovett said — have increased.
Like the time Lovett's son moved some old furniture onto the sidewalk in front of her home for bulk-trash pickup, she recalled, and a neighbor called the police, believing the Black man she saw outside was settling in to stay on the sidewalk.
Or the time, Lovett said, a different neighbor filed a complaint with D.C. code inspectors about Lovett's worn-out porch instead of talking to her directly.
'If you have a concern, you should go to your neighbor,' Lovett said. 'That's how I was raised to act — like a good neighbor.'
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Ward 5, which encompasses Eckington and surrounding neighborhoods, is one of the areas where the most significant visual change has occurred, according to The Post's ward-by-ward color analysis. What were once warm tones of browns and reds have given way to grays, gray-blues, blacks and whites.
While gray-washed homes have proliferated across neighborhoods in Northwest Washington over the past decade, data shows this look has also begun to seep into Wards 7 and 8, where new developments and home renovations have increased.
Grays and neutral colors are in the majority in this stretch of homes on Adams Street NW in Washington. (Bill O'Leary for The Washington Post)
'The concept of a post-race America is tied up in these aesthetics. It's sort of a 'Everyone is welcome here, and no one should feel uncomfortable if the aesthetic is uniform.' Gray is a way to flatten difference,' said Brandi T. Summers, an associate professor of African American and African diaspora studies at Columbia University and the author of 'Black in Place: The Spatial Aesthetics of Race in a Post-Chocolate City.'
'But when you create an aesthetic that is supposed to be minimalist and monocultural, it extinguishes difference,' Summers added. 'It doesn't allow different people from different cultures to actually be different.'
'It was everywhere, and it's still ongoing'
D.C. real estate agent Ileann Jimenez-Sepulveda remembers selling homes that used to be more earthy in color. More reds and greens. More warm, wood accents. More color in general.
It wasn't until a few years ago, around the start of the pandemic, that Jimenez-Sepulveda began to notice how much the housing market had shifted, she said. In magazines and on social media, the homes she saw all seemed to have the same, sleek look: They were painted in neutrals — black or white or gray — and had modern features. Metal accents. Sharp lines.
(Moriah Ratner for The Washington Post)
'I was seeing homes like that not just here but in Texas, in the Midwest, in Arizona, in Utah; it was everywhere, and it's still ongoing,' she said, recalling a particular shade she saw featured called Rodeo that is beige with a hint of gray.
Evaluating what's selling in other cities — and what buyers are drawn to in her own market — helps Jimenez-Sepulveda and other real estate agents determine what advice to give clients looking to sell their homes. These days, one of the most common pieces of advice she doles out is this: Paint your house.
'Sometimes we have sellers tell us that they just painted five years ago and they don't need to repaint,' she said. 'But if you're trying to sell an outdated-looking home, you're just not going to have as much success.'
To convince reluctant clients, she and other real estate agents prepare what they call comparative analyses. These data-rich handouts pull from previous property deals to make the case for updating the look of a home.
In at least one case, Jimenez-Sepulveda said, changing the aesthetics and colors of the home probably contributed to a sale price of more than $100,000 over another, similar property whose owners declined to make similar changes.
A painted brick home in D.C.'s Crestwood neighborhood. (Moriah Ratner for The Washington Post)
Home-listing giant Zillow, which conducted a survey among 4,600 recent and prospective home buyers across the country in 2023, found darker shades eclipsed brighter colors for the first time following the explosion of home sales in 2020 and 2021.
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A company spokesperson said these hues are often seen as peaceful, quiet, a 'retreat.' Amid the chaos of the pandemic, people were pulled toward simplicity, paint companies and those who closely follow color trends said.
The desire for peace is reflected in noise-complaint numbers The Post collected. Data from D.C. shows that noise complaints for 2019 through 2023 are concentrated in areas that are largely considered the city's most gentrified neighborhoods.
'Gray, gray, gray, white, gray'
In cities like San Francisco, where homes are known for their color, the gray wave triggered backlash from longtime residents and appreciators of the city's classic motif — most famously encapsulated by the Painted Ladies, a row of colorful Victorian houses included in the opening credits of the sitcom 'Full House.'
Few neighborhoods in San Francisco have experienced the shift to gray more starkly than the city's historic Latino district, the Mission.
Richard Segovia, 71, who has lived in the Mission District his whole life, steps outside of his brightly colored house every day and surveys how the neighborhood has continued to morph around him.
'All this gray — it's so dark, it's so gloomy, so ugly. It's like seeing creativity and art and the colors of my community disappear right in front of my eyes,' said Segovia, a musician who painted a mural honoring Latin rock pioneers on his home.
(Winni Wintermeyer for The Washington Post)
'We're used to bright houses — yellow houses, green, the whole river of colors, like Carlos Santana used to say,' he said. 'But now you look around, and it's gray, gray, gray, white, gray. The real estate agents are pushing these new colors that aren't even colors to send a message: New people are moving in, and they're not like us.'
Sergio De La Torre, a professor at the University of San Francisco, has data to back this up. He and his students mapped gray houses in the Mission and, he said, documented a correlation between gray houses and rising police calls and immigration raids.
'The gray houses have become a symbol of this muteness, this quiet, humble, nothing-is-happening-here,' said De La Torre, who is also an artist. 'When you paint a house gray, you're covering up its history, its memory. You're starting over. We can be modern now, we can be cool.'
Gray homes are also being built in midsize cities like Nashville, where development is driving population shifts. Houses are being flipped — torn down and rebuilt or renovated with a new coat of paint — in cities, such as Chicago, with older housing stock and a changing residential base.
A gray house is next to Segovia's colorful home. (Winni Wintermeyer for The Washington Post)
Trends around home exteriors tend to shift in roughly 15-year cycles, experts said, noting the gray-homes trend is nearing its expiration — but the colors that appear to be rising to replace it are variations on the monochromatic theme.
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Julie Elrod, the director of business development in painting services for Ace Hardware Painting Services, said whites and blacks have been steadily growing in popularity as home aesthetics lean further into sharp contrasts and the more modern look that began with the tilt toward gray.
'We're seeing a lot of white modern looks with stark black accents; I have a friend who calls those 'stormtrooper houses,'' said Elrod. 'It's still that same desire for a clean aesthetic. It's modern, it's easy. In contrast, the other trend we're seeing is people painting their homes charcoal or black.'
Gray and neutral-colored homes in the Mission District, known for its murals. (Winni Wintermeyer for The Washington Post)
Rasmussen, the color enthusiast, has been on the hunt for a house in D.C. She dreams of a brightly colored home: a bright pink, she mused, or maybe canary yellow.
'When I see a house that hasn't been flipped, when I see a green house or a red house, my heart gets really happy,' she said.
But 'turnkey' houses, or those that are move-in ready, with little to no additional renovations required — ideal for many first-time home buyers — tend to hew more closely to what real estate agents say is most likely to sell.
The reality, she knows, is this: She's probably going to end up in a gray house.
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'When I look back at it now, I realize that in terms of long-term goals and lifestyle, those kinds of things, we didn't have that compatibility there. We had great friendship compatibility, but in terms of the kind of life we were trying to build long term, we didn't have that,' she said. It took her three attempts over three years to rekindle the friendship. It wasn't until her friend reached out to her four years later that they were able to reconnect. He's even going on a vacation with her, along with her husband and two children. One of the main reasons relationships end is because one or the other has started dating someone, said Laszloffy. 'They've met someone, and they're interested in going in a different direction, and they feel like, now I'm ready for a committed relationship, and so I'm just moving on,' she said. - - - When one party catches 'feelings' Friends-with-benefits relationships can't last because they're unrealistic, said Tracy Margolin, a licensed family therapist in Stamford, Connecticut. There's too much of the good stuff and not any of the hard stuff, like expressing feelings and being allowed to have expectations, she added. With friendship, there is some responsibility, and with responsibility can come expectations and hurt feelings. 'If I told you I was going to call you tomorrow and I don't, you're going to be disappointed. Are you telling me in a friends-with-benefits relationship, you're not allowed to be disappointed because I told you I didn't want anything serious?' she said. 'That's not going to work because somebody will catch feelings. Or there will be resentments.' But more than that, she asked, what does a friends-with-benefits relationship solve, and why would someone want that kind of relationship? 'If the problem is, I'm not ready to get in a relationship, well at some point, you will be. So then that didn't solve it,' she said. 'I mean, is a friends-with-benefits relationship like a ramp up to see if you're ready, and then you say, well, now thanks for that. I'm healed from my past hurts. Bye. Bye?' Relationships are always going to tend toward something, whether it's an ending or the beginning of something romantic, Margolin said. 'I think it's human nature to want to move forward. Nothing can stand still. Nothing is in a vacuum,' she said. 'Could it serve a purpose for a while? Sure. Will it solve a problem for a while? Yes. Can they endure the long haul? I don't think so.' Related Content Hulk Hogan was a well-known Trump supporter. Their ties go back 40 years. 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Los Angeles Times
7 hours ago
- Los Angeles Times
Jim Crow meets ICE at ‘Alligator Alcatraz'
A few years ago I came across a profoundly unnerving historical photo: A lineup of terrified, naked Black babies cowered over the title 'Alligator Bait.' As it turned out, the idea of Black babies being used as alligator bait was a beloved trope dating back to the antebellum South, though it didn't really take off until after the Civil War. The image I saw was created in 1897, just one year after Plessy vs. Ferguson established 'separate but equal' as the foundational doublespeak of segregation. With formerly enslaved people striking out and settling their own homesteads, the prevailing stereotypes deployed to justify violence against Black people were forced to evolve. We were no longer simple and primitive, in desperate need of the civilizing stewardship of white Christian slave owners. After emancipation, we became dangerous, lazy and worthless. Worth less, in fact, than the chickens more commonly used to bait alligators. White Floridians in particular so fell in love with the concept of alligators hungry for Black babies that it birthed an entire industry. Visitors to the Sunshine State could purchase souvenir postcards featuring illustrations of googly-eyed alligators chasing crying Black children. There was a popular brand of licorice called 'Little African,' with packaging that featured a cartoon alligator tugging playfully at a Black infant's rag diaper. The tagline read: 'A Dainty Morsel.' Anglers could buy fishing lures molded in the shape of a Black baby protruding from an alligator's mouth. You get the idea. When I first learned of all this, naturally, I was unmoored. I was also surprised that I'd never heard of the alligator bait slur. Why doesn't it sit alongside the minstrel, the mammy and the golliwog in our cultural memory of racist archetypes? Did it cross some unspoken line with the vulgarity of its violence? Perhaps this particular dog whistle was a tad too audible? Or was it the plausible deniability? Did people (including historians) wave it away because babies were never 'really' used as alligator bait? It's true that beyond the cultural ephemera — which includes songs (such as the ragtime tune 'Mammy's Little Alligator Bait') and mechanical alligator toys that swallow Black babies whole, over and over again — there are apparently no surviving records of Black babies sacrificed in this way. No autopsy reports, no court records proving that anyone was apprehended and convicted of said crime. But of course, why would there be? The thing I found so unnerving about the alligator bait phenomenon wasn't its literal veracity. There's no question human beings are capable of that and far worse. Without a doubt, 'civilized' people could find satisfaction — or comfort, or justice, or opportunity — in the violent slaughter of babies. Donald Trump's recently posted AI clip 'Trump Gaza,' which suggests the real world annihilation of Palestinians will give way to luxury beachfront resorts, is a shining example. The thing that haunted me about alligator bait was the glee with which the idea was embraced. It was funny. Cute. Harmless. Can't you take a joke? Now here we are, 100 years after 'Mammy's Little Alligator Bait,' and the bigots are once again using cartoon alligators to meme-ify racial violence, this time against immigrants. Just like the title 'Alligator Bait,' the Florida detention center name 'Alligator Alcatraz' serves multiple ends: It provokes sadistic yuks. It mocks. It threatens. But most crucially, it dehumanizes. 'Alligator Bait' suggests that Black people are worthless. By evoking the country's most infamous prison, 'Alligator Alcatraz' frames the conversation as one about keeping Americans safe. It suggests the people imprisoned there are not vulnerable and defenseless men and women; anyone sent to 'Alligator Alcatraz' must be a criminal of the worst sort. Unworthy of basic human rights. Fully deserving of every indignity inflicted upon them. 'Alligator Alcatraz' cloaks cruelty in bureaucratic euphemism. It's doublespeak, masking an agenda to galvanize a bloodthirsty base and make state violence sound reasonable, even necessary. It has nothing to do with keeping Americans safe. Oft-cited studies from Stanford, the Libertarian Cato Institute, the New York Times and others have shown conclusively that immigrants, those here legally and illegally, are significantly less likely to commit violent crimes than their U.S.-born neighbors. If those behind 'Alligator Alcatraz' cared at all about keeping Americans safe, they wouldn't have just pushed a budget bill that obliterates our access to healthcare, environmental protection and food safety. If they actually cherished the rule of law, they would not deny immigrants their constitutionally guaranteed right to due process. If they were truly concerned about crime, there wouldn't be a felon in the White House. As souvenir shops and Etsy stores flood with 'Alligator Alcatraz' merch, it's worth noting that none of it is played for horror. Like the cutesy alligator bait merchandise before it, these aren't monster-movie creatures with blazing eyes and razor-sharp, blood-dripping teeth. The 'Alligator Alcatraz' storefront is cartoon gators slyly winking at us from under red baseball caps: It's just a joke, and you're in on it. And it's exactly this cheeky, palatable, available-in-child-sizes commodification that exposes the true horror for those it targets: There will be no empathy, no change of heart, no seeing of the light. Dear immigrants of America: Your pain is our amusement. The thing I keep wondering is, would this cheekiness even be possible if everyone knew the alligator bait history, the nastiness of which was buried so deep that 'Gator bait' chants echoed through the University of Florida stadium until 2020? Would they still chuckle if they saw the century-old postcards circulated by people who 'just didn't know any better'? My cynical side says: Yeah, probably. But my strategic side reminds me: If history truly didn't matter, it wouldn't be continuously minimized, rewritten, whitewashed. There's truth in the old idiom: Knowledge is power. Anyone trying to keep knowledge from you, whether by banning books, gutting classrooms, denying identities or burying facts, is only trying to disempower you. That's why history, as painful as it often is, matters. Remembering the horror of alligator bait isn't about dwelling on the grotesque. It's about recognizing how cruelty gets coded into culture. 'Alligator Alcatraz' is proof that alligator bait never went away. It didn't evolve or get slicker. It's the same old, tired cruelty, rebranded and aimed at a new target. The goal is exactly the same: to manufacture consent for suffering and ensure the most vulnerable among us know where they stand — as props, as bait, as punchlines. And no joke is more vulgar than one mocking the pain of your neighbors, whether they were born in this country or not. Ezra Claytan Daniels is a screenwriter and graphic novelist whose upcoming horror graphic novel, 'Mama Came Callin',' confronts the legacy of the alligator bait trope.