Club Harlem

Under the proprietorship of Stan Cooper, this West Philly jazz spot was popular in the 1940s and ‘50s.

Club Harlem

Club Harlem played host to jazz and blues greats such as Duke Ellington, Charlie Parker, Lionel Hampton, Johnny Hodges, Ella Fitzgerald, Lucky Millender, John Coltrane, Dinah Washington, Bull Moose Jackson, Erskine Hawkins and Nat King Cole. On May 30, 1952, KYW broadcast a live concert by the Stan Kenton Orchestra.

Club Harlem closed in 1952 following a dispute with Union Local 274, the black musicians union.

Sixty miles north, Atlantic City’s Club Harlem was located at “KY and the Curb,” the block of Kentucky Avenue from Arctic to Atlantic avenues.

Club Harlem - Atlantic City

The legendary nightclub was jumping from 1935 to 1975.

On August 9, 1969, organist Lonnie Smith recorded a live album at Club Harlem.

Club Harlem is featured in the Atlantic City Experience, a multi-media exhibit which opened earlier this year in Boardwalk Hall. The exhibit includes a photo of The Apex Hair Co. Inc. founded by Sara Spencer Washington in 1920.

Apex Hair Co. Inc.

The former location of the Apex Beauty College is a stop on the Green Book Philadelphia Walking Tour: Lombard Street Edition.

Apex Beauty College

The walking tour is scheduled for Saturday, May 16, 2020, 10:00am to 12:00pm. To receive notice when tickets are available, send email to: greenbookphl@gmail.com.

Pennsylvania National Action Network Calls on Sen. Warren to Support Removal of Frank Rizzo Monument

When I moved to Philadelphia, Frank Rizzo, a former mayor and police commissioner, had been dead for nearly two decades. Still, Philadelphians spoke about him with a passion and anger that was visceral. Rizzo’s legacy includes the untreated trauma that he inflicted on the African American community.

As I researched Philadelphia’s jazz history, I heard stories about how Rizzo harassed jazz musicians and club owners. So it is shocking that a monument of a man who was sued by the U.S. Department of Justice for a pattern of police brutality that “shocks the conscience” is at the gateway to municipal services.

#FrankRizzo - Yarnbomb - 2012

I looked at the story behind the story and learned the Rizzo monument was financed by his family. The public was never asked whether the vanity project was an appropriate monument for the City of Philadelphia. Not only was the public not asked, the vanity project was unveiled on January 1, 1999 after the Mummers Parade, an event that for decades featured marchers in blackface.

#FrankRizzo - NYT - Mummers Parade

On the day Philadelphia Mayor Jim Kenney announced his endorsement of Sen. Elizabeth Warren for the Democratic presidential nomination, it was reported Kenney has no plan to remove the Rizzo monument from Thomas Paine Plaza. Warren supports removal of Confederate monuments and the Confederate battle emblem from the Mississippi state flag.

I join Pennsylvania State Chapter National Action Network in calling on Warren to support removal of the monument of Frank Rizzo, a racist cop who trampled on civil rights, urged supporters to “vote white” and traumatized the African American community. You can read the press release here.

Cinderella Café

The Cinderella Café or Inn was located at 16th and Lombard streets.

Cinderella Cafe - July 11, 1934

In response to efforts to delist the property as a contributing resource to the Rittenhouse-Fitler Historic District, archivist J.M. Duffin documented the historical significance of the building:

The Cinderella Inn or Café appears at 1601–02 Lombard Street in the early 1920s. African American band leader Bobby Lee and Ethel Duncan were the managers of the club. Lee started playing the piano in movie theaters in Richmond, Virginia at the age of 13. Around 1914 he formed his own band which by the early 1920s became known as the Cotton Pickers. The club he formed on Lombard Street was a very popular place in its time. It is mentioned in a number of African American newspapers across the country and served a racially mixed clientele. Lee hired an African American interior decorator from New York, Harold Curtis Brown, to decorate the club with orange and black silhouettes. Lee’s band had a regular Philadelphia radio broadcast at the time he was operating the club which no doubt contributed to its broader notoriety. His popularity and skill was so great that when he was asked to go to New York to be a regular at the Cotton Club he refused and Duke Ellington got the job instead. As late as 1937, there were still references to the Cinderella Inn in national publications.

The property is associated with Sarah Spencer Washington, founder of the Apex College of Beauty Culture.

Apex Beauty College

The building is a stop on All That Philly Jazz Cultural Heritage Walking Tour: Lombard Street Edition. To be added to the mailing list for 2020 tour schedule, send email to: greenbookphl@gmail.

Public Memory and Place Matter

In a recent essay published by the Brookings Institution, the writers asked: Whose history gets recognized in our public spaces?

Ultimately, the fight over Barry Farm is about more than those last 32 buildings left standing. It signifies a larger struggle over representation in our physical spaces, one that has only intensified as cities become more divided, unaffordable, and unequal. This struggle has manifested itself in a myriad of ways, from efforts to remove racist memorials from public plazas to movements to protect Black culture on rapidly gentrifying blocks. Within all these actions is one critical, underlying message: Black history matters.

In Philadelphia, our story is being erased from public memory. From the demolition of the church where Marian Anderson first learned to sing to the Henry Minton House, one of the last places John Brown laid his head, developers don’t give a fig about black history.

Henry Minton House - Inquirer

Midwood Development & Investment CEO John Usdan plans to demolish the Henry Minton House. In a news article, Usdan said, “Because the city’s so rich in history and has all these great historic buildings and amazing places where you want to congregate, it’s exactly what the demographic moving to Philly wants.”

For this developer, black history is not American history. And black folks are not included in Usdan’s vision for a changing city since he is building for “the demographic moving to Philly.”

First they displace us. Then they erase us.

#DisappearingBlackness - Where's Our Story

The National Museum for African American History and Culture’s exhibition “Power of Place” underscores that place matters:

People make places even as places change people. Places are secured by individual and collective struggle and spirit. Place is about movement and migration and dis-placement. Place is where culture is made, where traditions and histories are kept and lost, and where identities are created, tested, and reshaped over time.

On October 22, PlanPhilly is holding a panel discussion, “Place, Preservation and Public Memory in Philadelphia.” All That Philly Jazz Director Faye Anderson is a panelist, along with Paul Farber, Ori Feibush and Karen Olivier. The event is free but you must register. To reserve your spot, go here.

An Opry Salute to Ray Charles

Ken Burns’ latest film, “Country Music,” makes clear that African American music is at the root of the genre. Long before Lil Nas X, there was DeFord Bailey, Rufus “Tee Top” Payne, Charley Pride – and Ray Charles. Brother Ray’s 1962 album, Modern Sounds in Country and Western Music, topped the charts in the U.S. and Britain. The album and its lead single, “I Can’t Stop Loving You,” were certified gold by the Recording Industry Association of America.

Country Music Hall of Famer Willie Nelson observed:

When Ray did “I Can’t Stop Loving You,” that was probably the time when country music was heard by more people than ever before. He kicked country music forward 50 years. Before him, a lot of people had probably never heard of songs by Don Gibson or Hank Williams.

In his autobiography, Brother Ray: Ray Charles’ Own Story, the country music pioneer wrote:

I just wanted to try my hand at hillbilly music. After all, the Grand Ole Opry had been performing inside my head since I was a kid in the country.

The Grand Ole Opry “celebrates the songs of Ray Charles and the influence the revolutionary artist had on country music” in a television special, “An Opry Salute to Ray Charles.”

An Opry Salute to Ray Charles

Hosted by Opry member Darius Rucker, the star-studded salute features Boyz II Men, Cam, Brett Eldredge, Leela James, Jessie Key, Ronnie Milsap, Lukas Nelson, LeAnn Rimes, Allen Stone, Travis Tritt, Charlie Wilson, Trisha Yearwood and Chris Young. The program will air on PBS stations nationwide so check your local listings.

Happy Birthday to John Coltrane

John Coltrane’s eighth studio album, Africa/Brass, was released in 1961. The tracks include “Song of the Underground Railroad.”

To celebrate Coltrane’s birthday (September 23, 1926), All That Philly Jazz Director Faye Anderson will lead the Philadelphia Jazz Heritage Walking Tour: Green Book Edition. A travel guide, Green Book listings were effectively an Underground Railroad 2.0, a network of safe spaces where African Americans could avoid the indignities and humiliations of racial segregation.

Douglass Hotel Bus Depot

Green Book Philadelphia walking tour stops include:

  • National historic landmark where Coltrane first heard Charlie Parker and Dizzy Gillespie;
  • Supper club that was a hangout for the producers and musicians who created “The Sound of Philadelphia”;
  • Hotel that welcomed jazz luminaries to its stage from the 1940s to the 1980s, and where Coltrane recorded a live album;
  • Pep’s Musical Bar where Coltrane and other jazz and blues greats performed;
  • Jazz club that paid homage to postal workers and U.S. Postal Service;
  • Dive bar that was the setting for the Broadway play “Lady Day at Emerson’s Bar and Grill”; and
  • Fraternal lodge where Bessie Smith’s funeral was held and an after-hours club was located on the top floor.

All That Philly Jazz Walking Tour: Green Book Edition will be held on September 21 and 22. Join us as we talk and walk in the footsteps of a jazz giant.

#ThisPlaceMatters: Painted Bride Art Center

A year ago, the Philadelphia Historical Commission rejected the nomination of the Painted Bride Art Center’s building, 230 Vine Street, for listing on the local register of historic places. The designation would have saved the city’s oldest alternative art space and one of the few extant buildings associated with Philadelphia’s jazz heyday. Jazz on Vine, the longest, continuously running jazz series in Philadelphia, was started in 1975.

If 230 Vine Street had been designated a historic landmark, Isaiah Zagar’s “Skin of the Bride” mosaic that rings the exterior walls of the building, an artwork of recognized stature, would have been preserved.

Painted Bride - September 2019

Painted Bride - Sept. 2019

With the Commission’s controversial vote in hand, the Bride put the cultural landmark on the market. In a message, executive director Laurel Raczka wrote:

After much consideration, we have made the difficult decision to sell our building at 230 Vine. Let me be clear: The Painted Bride is NOT closing. With the proceeds of the building sale, we will secure a source of funds that will ensure the Bride can fulfill its central mission, which is to support artists who are committed to blazing paths of innovation that are transformative at the community level.

[…]

The Painted Bride is world-renowned as a vanguard institution for ground-breaking artists. We want to do everything possible to ensure that we perform that role for years to come.

Our current business model is unsustainable and hasn’t been sufficiently updated (emphasis added) to meet the needs of a transforming world and evolving audiences. We are committed to creating a new model that will allow the Bride to be increasingly responsive, flexible and agile in our rapidly changing times.

Founded in 1969, the Bride has received millions of dollars in charitable donations from local, state and federal taxpayers, foundations, corporations and individual donors. The current board of directors failed to sufficiently update its business model. Having brought this vanguard institution to the brink, the board now says it will ensure Painted Bride 2.0 is sustainable. Got it. Now tell it to the judge.

Orphans' Court Notice

The Bride is a nonprofit organization. The proposed sale of a “charitable asset” to a for-profit developer must be approved by the Orphans’ Court and Pennsylvania Attorney General Josh Shapiro. If the Bride’s petition is approved, Groom Investment LLC will demolish the artist-centered performance space and gallery, and destroy Zagar’s iconic murals. In their place, the developer will construct 16 cookie-cutter condos for the one percent.

Painted Bride Architectural Rendering

A diverse group of arts and culture leaders opposes the petition (full disclosure: I’m included in the group). Laurel Raczka says the Bride is “more than brick and mortar.” But place matters. 230 Vine Street is where culture was made. It’s where stories are kept. The iconic building keeps the stories in public memory and imagination.

The Orphans’ Court hearing is open to the public. If you believe this place matters, join us on Tuesday, September 10, 2019, at 10:00 a.m. in Courtroom 416 City Hall, Philadelphia, PA.

It ain’t over.