{
  "@id": "https://freepresshoustonarchive.com/in-retrospect/fitzgeralds-houston-timeline#article",
  "recordType": "RetrospectiveEssay",
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  "recordPublisher": {
    "@id": "https://freepresshoustonarchive.com/#archive-organization",
    "name": "Free Press Houston Archive"
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    "@id": "https://freepresshoustonarchive.com/#organization",
    "name": "Free Press Houston"
  },
  "slug": "fitzgeralds-houston-timeline",
  "section": {
    "@id": "https://freepresshoustonarchive.com/in-retrospect#collection",
    "name": "In Retrospect",
    "url": "https://freepresshoustonarchive.com/in-retrospect"
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  "kind": "Institutional history",
  "title": "Fitzgerald’s, 1918–2019: A Houston Timeline",
  "subtitle": "A Polish community hall, a two-floor music institution, and the generations who made 2706 White Oak Drive matter.",
  "description": "An archive-produced chronology of Fitzgerald’s: the Polish Home, Sara Fitzgerald, the Pegstar / FPH operating years, closure and demolition.",
  "datePublished": "2026-10-26",
  "dateModified": "2026-10-26",
  "author": {
    "@type": "Organization",
    "@id": "https://freepresshoustonarchive.com/#archive-organization",
    "name": "Free Press Houston Archive",
    "url": "https://freepresshoustonarchive.com/about"
  },
  "productionNote": "This archive-produced timeline was prepared with the archive’s AI-assisted research and editorial workflow; sources and held records are cited alongside the text.",
  "body": [
    "Fitzgerald’s had several beginnings. The building opened as a Polish community hall in 1918. Its life as Fitzgerald’s began in 1977. The Pegstar and Free Press Houston operating partnership arrived in 2010. Its last New Year’s Eve came in 2018; the building survived only a few months longer. Keeping those dates separate makes the history more interesting, and more accurate.",
    "For generations of Houstonians, the place was a point of entry: into live music, into a band, into the work required to keep a room open. This chronology follows the building, the people who operated it, and selected records of what happened on its stages. The archive’s Fitzgerald’s place record identifies the historical address; the separate Pegstar / Free Press Houston collection holds the show registry, posters and working records of the 2010–2015 period.",
    "Houston’s Polish Social Club began with eight Polish Americans and subsequently joined the Polish National Alliance as Kosciuszko Lodge 165. Meetings took place in members’ homes and rented rooms. Gregory L. Witul traces those beginnings in his history of Houston’s Polish Home.",
    "The community formally opened its two-story wooden home at White Oak and Studewood after raising and borrowing $1,200. Dr. Stefan Wagner Mieczkowski and the Kazmierowski family of builders helped bring the project into being. Part of the lower floor accommodated horses and carriages, later cars. The Polish American Council of Texas preserves the opening account, including an early photograph credited to Flo Baker.",
    "In April 1925, the lodge, the Polonia Society and the Polish Women’s Group established a constitution for the Home. In 1950 it incorporated as Polish Home, Inc. Dances and seasonal gatherings belonged to a broader civic purpose: keeping a community connected. Source: Polish Texans.",
    "The organization opened a new home at 103 Cooper Road, with a Polish Mass, official proclamations and a banquet. This was a different property. The distinction restores the building’s original community to the story without folding separate addresses into a single convenient legend. Source: Polish Texans.",
    "Sara Fitzgerald took an aging Polish hall and made a music venue. A 1999 Houston Press profile describes an inexperienced club operator confronting bad plumbing, difficult electrics and a building without air-conditioning. The club would retain her name for the rest of its life.",
    "Sara’s later account describes Rex Bell and friends helping equip the upstairs room for a Lightnin’ Hopkins appearance. Folding chairs, a borrowed sound system and beer chilled in a cooler preceded the mature concert operation. Andrew Dansby’s 2018 history records this modest beginning; it does not establish an exact date for that performance.",
    "Stevie Ray Vaughan played the room repeatedly between 1981 and 1983. R.E.M. also appeared before becoming an arena-scale band. These were musicians passing through a working venue, not yet a commemorative list of famous names. Sources: Houston Chronicle retrospective; 2017 interview with Sara Fitzgerald.",
    "The Chronicle’s photographic record includes Bonnie Raitt in 1984, James Brown in 1985, and Los Lobos that same year. Photographs matter here because they preserve more than a remembered booking: the stage, the audience and the scale of the encounter. Source: Chronicle concert photographs.",
    "A surviving calendar reproduced by the Houston Press places Steve Earle, X, Fishbone, Alex Chilton and John Mayall within a single month. Nearby listings point toward the Texas Outlaw Comics. The variety is part of the history: Fitzgerald’s served overlapping audiences rather than one fixed idea of what Houston music ought to sound like. Source: Chris Gray’s archival survey.",
    "Houston’s local bands and younger audiences made the venue their own, sometimes in tension with the club’s earlier identity. The Houston Press’s 2007 account describes a place shaped by changing scenes, personalities and generations. A long-running club is not one uninterrupted golden age. It is a succession of people convinced that the nights they remember were the nights that defined it.",
    "An advertisement held in Free Press Houston’s July 2007 issue invited readers to celebrate the club’s thirtieth anniversary. Its familiar joke places Fitzgerald’s in the daily commercial life of the city: a venue buying space in an independent newspaper to bring people through the door. The original advertisement is a better witness to that relationship than retrospective nostalgia alone.",
    "Pegstar leased the venue from Sara Fitzgerald. The ownership of the property and the operation of the club were separate matters. Omar Afra, Free Press Houston’s publisher, participated in the operating partnership with Pegstar’s Jagi Katial and Johnny So; David Garrick’s 2015 interview with Katial records the conversations that brought them there. Sara’s account independently places the transfer of day-to-day operations in July 2010. Source: Houston Press.",
    "An opening-night advertisement announces the Drums with Young Friends; the held show registry also records Black Congress and Weird Party on that date. Craig Hlavaty’s next-day report describes repainted rooms, new bars and a chandelier upstairs. The old building had been reworked, not replaced. Compare the report with the original opening-night advertisement and held calendar.",
    "The archive’s surviving export contains 418 active event records across 284 dates in 2011, followed by 492 across 308 dates in 2012. Paid-ticket fields total at least 110,393 across those two years. These are surviving system records, not audited total attendance or a count of unique visitors. The collection explains their scope.",
    "The MONO and Chris Brokaw poster dates one bill to October 14, 2012. A February 2013 monthly flyer presents the room as an ongoing schedule; an Octopus Project poster fixes another night to December 5, 2013. Together with later newsletters, these objects show how the venue communicated with its audience. The poster collection preserves individual designs, dates and credits alongside the wider register.",
    "Jef With One F reported that the Suffers had sold out their forthcoming upstairs show in advance. His Free Press Houston article treated the booking as an occasion to examine local audiences, promotion and the work of Mark C. Austin. The historical value lies in that contemporary discussion, not in converting its headline into an independently audited claim about every show in the preceding decade.",
    "Pegstar’s farewell bill was August 29; its lease ended September 15. Reporting named Buxton, Wild Moccasins, Young Mammals and other performers. The promoters were preparing a different venue, White Oak Music Hall. Sources: August 2015 Chronicle report; Houston Press on the September handover.",
    "Lauren Oakes was announced as the incoming general manager, with extensive renovations and Transmission Events handling bookings. By October 19, the Houston Press reported her resignation and the end of Transmission’s partnership, although some already-booked shows remained. Josh Merritt became general manager. The proposed arrangement should not be mistaken for a stable, multiyear operating era. Source: contemporary follow-up.",
    "Following the departure of Dacondo Casey and Merritt, Sara Fitzgerald said she would run the venue herself while rebuilding its staff and presentation. Accounts of the tenants’ departure differed, and reporting preserved those disagreements. What is clear is that this was a new management transition, not a continuation of Pegstar’s booking period. Sources: February 4 report; Sara’s February 5 interview.",
    "White Oak Music Hall’s indoor rooms opened on August 18, following the outdoor venue’s spring opening. Its history connects to Fitzgerald’s through people and booking experience, but it is not Fitzgerald’s under a different name. Source: opening announcement.",
    "An email exchange between Sara Fitzgerald and producer Garrett Brown prompted accusations of racism, cancellations and boycott calls. Contemporary coverage recorded both the criticism and her response. A comprehensive chronology cannot omit the episode merely because the venue was beloved. The archive preserves the original Free Press Houston reporting; the Chronicle’s interview supplies additional context.",
    "Sara later told the Chronicle that she sold the property in July; the sale was publicly reported in August. Easy Park was identified in coverage as the purchasing investment group. Sara continued running the club as a tenant. Sources: August sale report; December interview.",
    "Skyrocket was announced for the final New Year’s Eve show. Fitzgerald’s closed as 2018 became 2019. The last gathering and the later destruction of the building were different events, separated by months. The January 1 farewell report documents people marking the end of the music venue.",
    "Contemporary photographs show demolition underway on May 8; ABC13 reported it on May 9. The building’s removal followed the club’s closure and the sale of the property. A century of use had ended in stages: first the venue, then its physical shell. Sources: Chronicle demolition report; ABC13.",
    "Fitzgerald’s was not one owner, promoter, genre or generation. Its history belongs to the communities who gathered there and the people who kept it usable. The building is gone. The work of the archive is to keep the distinctions, the objects and the people legible.",
    "Continue through the Fitzgerald’s show registry and poster collection, historical place record, and lost Houston music venues directory."
  ],
  "sections": [
    {
      "kind": "paragraph",
      "text": "Fitzgerald’s had several beginnings. The building opened as a Polish community hall in 1918. Its life as Fitzgerald’s began in 1977. The Pegstar and Free Press Houston operating partnership arrived in 2010. Its last New Year’s Eve came in 2018; the building survived only a few months longer. Keeping those dates separate makes the history more interesting, and more accurate."
    },
    {
      "kind": "paragraph",
      "text": "For generations of Houstonians, the place was a point of entry: into live music, into a band, into the work required to keep a room open. This chronology follows the building, the people who operated it, and selected records of what happened on its stages. The archive’s [Fitzgerald’s place record](/places/fitzgeralds) identifies the historical address; the separate [Pegstar / Free Press Houston collection](/collections/fitzgeralds-pegstar-fph-years) holds the show registry, posters and working records of the 2010–2015 period."
    },
    {
      "kind": "heading",
      "text": "A place to gather · 1891–1974"
    },
    {
      "kind": "date",
      "text": "1891 · Before the building"
    },
    {
      "kind": "paragraph",
      "text": "Houston’s Polish Social Club began with eight Polish Americans and subsequently joined the Polish National Alliance as Kosciuszko Lodge 165. Meetings took place in members’ homes and rented rooms. Gregory L. Witul traces those beginnings in his [history of Houston’s Polish Home](https://polish-texans.com/2015/11/polonia-places-polish-home-of-houston/)."
    },
    {
      "kind": "date",
      "text": "June 2, 1918 · The Polish Home opens"
    },
    {
      "kind": "paragraph",
      "text": "The community formally opened its two-story wooden home at White Oak and Studewood after raising and borrowing $1,200. Dr. Stefan Wagner Mieczkowski and the Kazmierowski family of builders helped bring the project into being. Part of the lower floor accommodated horses and carriages, later cars. The [Polish American Council of Texas preserves the opening account](https://pactx.org/wp-content/uploads/2020/11/Polish-Home-Houston-1918-Final_Piotr_Rev.pdf), including an early photograph credited to Flo Baker."
    },
    {
      "kind": "date",
      "text": "1925–1950 · A hall becomes an institution"
    },
    {
      "kind": "paragraph",
      "text": "In April 1925, the lodge, the Polonia Society and the Polish Women’s Group established a constitution for the Home. In 1950 it incorporated as Polish Home, Inc. Dances and seasonal gatherings belonged to a broader civic purpose: keeping a community connected. [Source: Polish Texans](https://polish-texans.com/2015/11/polonia-places-polish-home-of-houston/)."
    },
    {
      "kind": "date",
      "text": "July 28, 1974 · The Polish Home moves north"
    },
    {
      "kind": "paragraph",
      "text": "The organization opened a new home at 103 Cooper Road, with a Polish Mass, official proclamations and a banquet. This was a different property. The distinction restores the building’s original community to the story without folding separate addresses into a single convenient legend. [Source: Polish Texans](https://polish-texans.com/2015/11/polonia-places-polish-home-of-houston/)."
    },
    {
      "kind": "heading",
      "text": "The music room · 1977–2009"
    },
    {
      "kind": "date",
      "text": "1977 · Sara Fitzgerald opens the club"
    },
    {
      "kind": "paragraph",
      "text": "Sara Fitzgerald took an aging Polish hall and made a music venue. A [1999 Houston Press profile](https://www.houstonpress.com/news/back-to-the-front-6567306/) describes an inexperienced club operator confronting bad plumbing, difficult electrics and a building without air-conditioning. The club would retain her name for the rest of its life."
    },
    {
      "kind": "date",
      "text": "Late 1970s · Lightnin’ Hopkins upstairs"
    },
    {
      "kind": "paragraph",
      "text": "Sara’s later account describes Rex Bell and friends helping equip the upstairs room for a Lightnin’ Hopkins appearance. Folding chairs, a borrowed sound system and beer chilled in a cooler preceded the mature concert operation. [Andrew Dansby’s 2018 history](https://www.houstonchronicle.com/entertainment/music/article/Farewell-Fitzgerald-s-Remembering-the-long-13458689.php) records this modest beginning; it does not establish an exact date for that performance."
    },
    {
      "kind": "date",
      "text": "Early 1980s · A stage on the way up"
    },
    {
      "kind": "paragraph",
      "text": "Stevie Ray Vaughan played the room repeatedly between 1981 and 1983. R.E.M. also appeared before becoming an arena-scale band. These were musicians passing through a working venue, not yet a commemorative list of famous names. [Sources: Houston Chronicle retrospective](https://www.houstonchronicle.com/entertainment/music/article/Farewell-Fitzgerald-s-Remembering-the-long-13458689.php); [2017 interview with Sara Fitzgerald](https://www.houstonchronicle.com/neighborhood/heights/article/Fitzgerald-s-founder-talks-controversy-fears-for-10942047.php)."
    },
    {
      "kind": "date",
      "text": "1980s · Blues, roots music and rooms full of people"
    },
    {
      "kind": "paragraph",
      "text": "The Chronicle’s photographic record includes Bonnie Raitt in 1984, James Brown in 1985, and Los Lobos that same year. Photographs matter here because they preserve more than a remembered booking: the stage, the audience and the scale of the encounter. [Source: Chronicle concert photographs](https://www.chron.com/entertainment/music/article/Remembering-Fitzgerald-s-Scenes-from-the-13460458.php)."
    },
    {
      "kind": "date",
      "text": "November 1987 · One calendar, several musical worlds"
    },
    {
      "kind": "paragraph",
      "text": "A surviving calendar reproduced by the Houston Press places Steve Earle, X, Fishbone, Alex Chilton and John Mayall within a single month. Nearby listings point toward the Texas Outlaw Comics. The variety is part of the history: Fitzgerald’s served overlapping audiences rather than one fixed idea of what Houston music ought to sound like. [Source: Chris Gray’s archival survey](https://www.houstonpress.com/music/fitzgeralds-has-a-long-story-one-worth-telling-over-and-over-7880799/)."
    },
    {
      "kind": "date",
      "text": "1990s–2000s · The room keeps changing"
    },
    {
      "kind": "paragraph",
      "text": "Houston’s local bands and younger audiences made the venue their own, sometimes in tension with the club’s earlier identity. The [Houston Press’s 2007 account](https://www.houstonpress.com/music/the-fitz-mix-6576796/) describes a place shaped by changing scenes, personalities and generations. A long-running club is not one uninterrupted golden age. It is a succession of people convinced that the nights they remember were the nights that defined it."
    },
    {
      "kind": "date",
      "text": "July 2007 · Thirty years behind bars"
    },
    {
      "kind": "paragraph",
      "text": "An advertisement held in Free Press Houston’s July 2007 issue invited readers to celebrate the club’s thirtieth anniversary. Its familiar joke places Fitzgerald’s in the daily commercial life of the city: a venue buying space in an independent newspaper to bring people through the door. The [original advertisement](/advertisements/fph-2007.07-p17-fitzgeralds) is a better witness to that relationship than retrospective nostalgia alone."
    },
    {
      "kind": "heading",
      "text": "Two rooms, a newspaper and a promoter · 2010–2015"
    },
    {
      "kind": "date",
      "text": "Summer 2010 · A lease, not a new building"
    },
    {
      "kind": "paragraph",
      "text": "Pegstar leased the venue from Sara Fitzgerald. The ownership of the property and the operation of the club were separate matters. [Omar Afra](/contributors/omar-afra), Free Press Houston’s publisher, participated in the operating partnership with Pegstar’s Jagi Katial and Johnny So; David Garrick’s [2015 interview with Katial](/articles/past-present-future-pegstar-opens-up) records the conversations that brought them there. Sara’s account independently places the transfer of day-to-day operations in July 2010. [Source: Houston Press](https://www.houstonpress.com/music/sara-fitzgerald-speaks-it-was-like-a-black-box-man-cave-in-here-8130855/)."
    },
    {
      "kind": "date",
      "text": "September 23, 2010 · The reopening"
    },
    {
      "kind": "paragraph",
      "text": "An opening-night advertisement announces the Drums with Young Friends; the held show registry also records Black Congress and Weird Party on that date. [Craig Hlavaty’s next-day report](https://www.houstonpress.com/music/fitzgeralds-reopens-with-a-hint-of-things-to-come-6512153/) describes repainted rooms, new bars and a chandelier upstairs. The old building had been reworked, not replaced. Compare the report with the [original opening-night advertisement](/advertisements/fph-2010.08-p4-fitzgeralds-opening-night) and [held calendar](/collections/fitzgeralds-pegstar-fph-years)."
    },
    {
      "kind": "date",
      "text": "2011–2012 · A working calendar becomes measurable"
    },
    {
      "kind": "paragraph",
      "text": "The archive’s surviving export contains 418 active event records across 284 dates in 2011, followed by 492 across 308 dates in 2012. Paid-ticket fields total at least 110,393 across those two years. These are surviving system records, not audited total attendance or a count of unique visitors. The [collection explains their scope](/collections/fitzgeralds-pegstar-fph-years)."
    },
    {
      "kind": "date",
      "text": "2012–2014 · Read the posters"
    },
    {
      "kind": "paragraph",
      "text": "The MONO and Chris Brokaw poster dates one bill to October 14, 2012. A February 2013 monthly flyer presents the room as an ongoing schedule; an Octopus Project poster fixes another night to December 5, 2013. Together with later newsletters, these objects show how the venue communicated with its audience. The [poster collection](/collections/fitzgeralds-pegstar-fph-years) preserves individual designs, dates and credits alongside the wider register."
    },
    {
      "kind": "date",
      "text": "April 30, 2015 · The Suffers fill the upstairs room"
    },
    {
      "kind": "paragraph",
      "text": "Jef With One F reported that the Suffers had sold out their forthcoming upstairs show in advance. His [Free Press Houston article](/articles/the-suffers-become-to-the-first-local-band-to-sell-out-fitzgeralds-in-a-decade) treated the booking as an occasion to examine local audiences, promotion and the work of Mark C. Austin. The historical value lies in that contemporary discussion, not in converting its headline into an independently audited claim about every show in the preceding decade."
    },
    {
      "kind": "date",
      "text": "August–September 2015 · Pegstar’s final show and lease departure"
    },
    {
      "kind": "paragraph",
      "text": "Pegstar’s farewell bill was August 29; its lease ended September 15. Reporting named Buxton, Wild Moccasins, Young Mammals and other performers. The promoters were preparing a different venue, White Oak Music Hall. [Sources: August 2015 Chronicle report](https://www.chron.com/entertainment/music/article/Promotions-group-Pegstar-ending-an-era-with-6439905.php); [Houston Press on the September handover](https://www.houstonpress.com/music/transmissions-plan-for-houston-more-bands-to-the-table-7707787/)."
    },
    {
      "kind": "heading",
      "text": "After the handover · 2015–2019"
    },
    {
      "kind": "date",
      "text": "October 2015 · The announced plan changes"
    },
    {
      "kind": "paragraph",
      "text": "Lauren Oakes was announced as the incoming general manager, with extensive renovations and Transmission Events handling bookings. By October 19, the Houston Press reported her resignation and the end of Transmission’s partnership, although some already-booked shows remained. Josh Merritt became general manager. The proposed arrangement should not be mistaken for a stable, multiyear operating era. [Source: contemporary follow-up](https://www.houstonpress.com/music/updated-trouble-at-fitzgeralds-as-general-manager-departs-7860259/)."
    },
    {
      "kind": "date",
      "text": "February 2016 · Sara returns to day-to-day operations"
    },
    {
      "kind": "paragraph",
      "text": "Following the departure of Dacondo Casey and Merritt, Sara Fitzgerald said she would run the venue herself while rebuilding its staff and presentation. Accounts of the tenants’ departure differed, and reporting preserved those disagreements. What is clear is that this was a new management transition, not a continuation of Pegstar’s booking period. [Sources: February 4 report](https://www.houstonpress.com/music/measuring-the-fallout-from-this-weeks-fitzgeralds-implosion-8128893/); [Sara’s February 5 interview](https://www.houstonpress.com/music/sara-fitzgerald-speaks-it-was-like-a-black-box-man-cave-in-here-8130855/)."
    },
    {
      "kind": "date",
      "text": "August 2016 · A separate venue opens"
    },
    {
      "kind": "paragraph",
      "text": "White Oak Music Hall’s indoor rooms opened on August 18, following the outdoor venue’s spring opening. Its history connects to Fitzgerald’s through people and booking experience, but it is not Fitzgerald’s under a different name. [Source: opening announcement](https://www.bisnow.com/news/houston/retail/white-oak-music-hall-unveils-indoor-venue-with-four-day-fest-63639)."
    },
    {
      "kind": "date",
      "text": "February 2017 · A public rupture"
    },
    {
      "kind": "paragraph",
      "text": "An email exchange between Sara Fitzgerald and producer Garrett Brown prompted accusations of racism, cancellations and boycott calls. Contemporary coverage recorded both the criticism and her response. A comprehensive chronology cannot omit the episode merely because the venue was beloved. The archive preserves the [original Free Press Houston reporting](/articles/fitzgeralds-causes-firestorm-over-racial-slur-filled-email); the [Chronicle’s interview](https://www.houstonchronicle.com/neighborhood/heights/article/Fitzgerald-s-founder-talks-controversy-fears-for-10942047.php) supplies additional context."
    },
    {
      "kind": "date",
      "text": "July–August 2018 · The property changes hands"
    },
    {
      "kind": "paragraph",
      "text": "Sara later told the Chronicle that she sold the property in July; the sale was publicly reported in August. Easy Park was identified in coverage as the purchasing investment group. Sara continued running the club as a tenant. [Sources: August sale report](https://www.houstonpress.com/music/iconic-houston-venue-fitzgeralds-has-new-owner-10757369/); [December interview](https://www.chron.com/life/article/Long-time-Houston-music-venue-set-to-shutter-13444663.php)."
    },
    {
      "kind": "date",
      "text": "December 31, 2018 · The last New Year’s Eve"
    },
    {
      "kind": "paragraph",
      "text": "Skyrocket was announced for the final New Year’s Eve show. Fitzgerald’s closed as 2018 became 2019. The last gathering and the later destruction of the building were different events, separated by months. The [January 1 farewell report](https://www.chron.com/entertainment/music/article/Party-goers-bid-farewell-to-Fitzgerald-s-13501171.php) documents people marking the end of the music venue."
    },
    {
      "kind": "date",
      "text": "May 2019 · The building comes down"
    },
    {
      "kind": "paragraph",
      "text": "Contemporary photographs show demolition underway on May 8; ABC13 reported it on May 9. The building’s removal followed the club’s closure and the sale of the property. A century of use had ended in stages: first the venue, then its physical shell. [Sources: Chronicle demolition report](https://www.chron.com/business/real-estate/article/Live-music-landmark-Fitzgerald-s-being-demolished-13836411.php); [ABC13](https://abc13.com/post/demolition-begins-at-iconic-fitzgeralds-venue-in-the-heights/5292811/)."
    },
    {
      "kind": "heading",
      "text": "What remains"
    },
    {
      "kind": "paragraph",
      "text": "Fitzgerald’s was not one owner, promoter, genre or generation. Its history belongs to the communities who gathered there and the people who kept it usable. The building is gone. The work of the archive is to keep the distinctions, the objects and the people legible."
    },
    {
      "kind": "paragraph",
      "text": "Continue through the [Fitzgerald’s show registry and poster collection](/collections/fitzgeralds-pegstar-fph-years), [historical place record](/places/fitzgeralds), and [lost Houston music venues directory](/collections/lost-houston-music-venues)."
    }
  ],
  "keywords": [
    "Fitzgerald’s",
    "Houston music history",
    "Polish Home"
  ],
  "aboutEntities": [
    {
      "@id": "https://freepresshoustonarchive.com/#organization",
      "name": "Free Press Houston",
      "url": "https://freepresshoustonarchive.com/entities/free-press-houston"
    }
  ],
  "figures": [
    {
      "id": "fitz-held-0",
      "title": "Fitzgerald’s, 2706 White Oak Drive. Date not established.",
      "alt": "Fitzgerald’s, 2706 White Oak Drive. Date not established.",
      "caption": null,
      "note": null,
      "credit": "Supplied by Omar Afra. Free Press Houston Archive.",
      "kind": "Photograph",
      "file": {
        "url": "https://freepresshoustonarchive.com/__l5e/assets-v1/acb3a5d3-3963-49ae-83a5-0981d4acd32c/fitzgeralds-exterior-lost-venues.png",
        "held": true,
        "checksum": null,
        "checksumNote": "No checksum: the file is served from the archive's remote asset store and its bytes are not held in the repository that computes fixity.",
        "width": null,
        "height": null
      },
      "date": null,
      "year": null,
      "record": {
        "@id": "https://freepresshoustonarchive.com/places/fitzgeralds#place",
        "url": "https://freepresshoustonarchive.com/places/fitzgeralds"
      },
      "related": [],
      "provenance": "Held archival image; existing Fitzgerald’s collection caption and source pointer retained. Poster billing is not proof of completed performance.",
      "sourceUrl": null
    },
    {
      "id": "fitz-held-1",
      "title": "Man Man with Shilpa Ray · May 3, 2011 · Poster by Timothy J. Dorsey",
      "alt": "Man Man with Shilpa Ray · May 3, 2011 · Poster by Timothy J. Dorsey",
      "caption": null,
      "note": null,
      "credit": "Poster by Timothy J. Dorsey. Free Press Houston Archive.",
      "kind": "Poster",
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