September is International Underground Railroad Month, a celebration of the history and legacy of the Underground Railroad. Events highlight stories of the self-emancipators who used a covert network of antislavery activists and safe havens to escape bondage.
Frederick Douglass embarked on his journey to freedom on September 3, 1838. Harriet Tubman began her escape on September 17, 1849.
Archival records show that William Still, Father of the Underground Railroad, held meetings at the Johnson House, an Underground Railroad station in Philadelphia. The Johnson House Historic Site is a National Historic Landmark, the highest designation for a historic property.
This International Underground Railroad Month, the Johnson House will host a party with a purpose, Jammin’ in the Garden 2025: A Celebration of Music and Community, on Saturday, September 20, 2025, from 4:00pm to 7:00pm. The fundraiser will support their preservation work and the Center for Social Advocacy.
I have President Trump fatigue. And I’m not alone. According to the latest Quinnipiac poll, only 37 percent of voters approve of the way Trump is handling his job; 55 percent disapprove.
There are signs of resistance to the chaos and madness. So this Labor Day, the message is in the music.
For more than 200 years, the nine enslaved Africans who lived in the Executive Mansion, located at 190 High (Market) Street in Philadelphia, were erased from history. This lost history was uncovered in 2002 and memorialized in the President’s House. The National Park Service site opened on December 15, 2010.
The story of slavery in the shadow of the Liberty Bell was whitewashed from the centennial, sesquicentennial and bicentennial celebrations of the signing of the Declaration of Independence.
For the Semiquincentennial, we will breathe life into President George Washington’s enslaved workers and say their names – Austin, Christopher, Giles, Hercules, Joe, Moll, Ona, Paris and Richmond – with joy.
The Daughters of the American Revolution sponsored the George Washington House, aka the President’s House.
The “High Street” exhibit included period-accurate reenactors. The exhibit presented an idealized view of the Revolutionary era. The existence of slavery in the Executive Mansion was left out of the history of 190 High Street.
In 2026, a group of activists, architects, technologists and historians will digitally reconstruct the original President’s House and outbuildings.
Instead of reenactors, we will create period-accurate AI avatars of the nine Black people enslaved by President Washington, including his chief cook, Hercules Posey.
In his book, Recollections and Private Memoirs of the Life and Character of Washington, George Washington Parke Custis, the president’s step-grandson, gave a detailed description of an outfit that Hercules wore:
While the masters of the republic were engaged in discussing the savory viands of the Congress dinner, the chief cook retired to make his toilet for an evening promenade. His perquisites from the slops of the kitchen were from one to two hundred dollars a year. Though homely in person, he lavished the most of these large avails upon dress. In making his toilet his linen was of unexceptionable whiteness and quality, then black silk shorts, ditto waistcoat, ditto stockings, shoes highly polished, with large buckles covering a considerable part of the foot, blue cloth coat with velvet collar and bright metal buttons, a long watch-chain dangling from his fob, a cocked-hat, and gold-headed cane completed the grand costume of the celebrated dandy (for there were dandies in those days) of the president’s kitchen.
Custis recalled “the chief cook invariably passed out at the front door.”
The President’s House.ai is currently in development. For more information or to get involved, contact Project Director Faye Anderson at presidentshouseAI@gmail.com.
In my recent opinion piece published in the Philadelphia Inquirer, I wrote: “The review of content at the President’s House is an Orwellian descent into censorship. It’s interpretive panels and books today. Will it be National Park Service videos and trading cards tomorrow?
Two days later, President Trump applied new pressure on Smithsonian interpretive texts and exhibitions. The Washington Post reported that White House officials are conducting a comprehensive review of Smithsonian museums:
The White House will launch a sweeping review of Smithsonian exhibitions, collections and operations ahead of America’s 250th-birthday celebrations next year — the first time the Trump administration has detailed steps to scrutinize the institution, which officials say should reflect the president’s call to restore “truth and sanity” to American history.
The vetting process would include reviewing public-facing and online content, curatorial processes and guidelines, exhibition planning and collection use, according to a letter sent to Smithsonian Secretary Lonnie G. Bunch III on Tuesday and signed by White House senior associate Lindsey Halligan, Domestic Policy Council Director Vince Hale and White House Office of Management and Budget chief Russell Vought.
[…]
The letter states that the initial review will focus on eight museums: the National Museum of American History, the National Museum of Natural History, the National Museum of African American History and Culture, the National Museum of the American Indian, the National Air and Space Museum, the Smithsonian American Art Museum, the National Portrait Gallery and the Hirshhorn Museum and Sculpture Garden.
For nearly two centuries, the Smithsonian has served as a globally renowned model of scholarship and public engagement. Smithsonian museums and sites are beloved, trusted destinations for millions of visitors annually looking to gain knowledge, spark curiosity, and find connection. The administration is maligning the expertise and autonomy of an institution that represents the pinnacle of museum and scholarly practice.
This pressure on Smithsonian history museums, in particular, reveals the administration’s ambition to delegitimize the work of the history field and to rob the public of its ability to learn from the past. Sound historical practice depends upon meticulous research of a wide array of sources, open-minded embrace of complexity and ambiguity, and a willingness to update understandings as new information arises. Time and again, Americans have said that they want our country’s full story. Censoring and manipulating content to fit a predetermined, triumphalist narrative is the antithesis of historical practice and a disservice to us all.
Smithsonian exhibitions are grounded in scholarly research. The ahistorical, willfully ignorant Trump wants to impose his interpretation of American history.
Truth is, Trump knows little, if anything, about Black history. He thought Frederick Douglass was still alive in 2017.
While gleaning clues from Project 2025, Trump’s whitewashing of American history is foretold in George Orwell’s 1984:
The Party told you to reject the evidence of your eyes and ears. It was their final, most essential command.
[…]
And if all others accepted the lie which the Party imposed—if all records told the same tale—then the lie passed into history and became truth.
Trump’s Big Lie that the Smithsonian had “come under the influence of a divisive, race-centered ideology” is straight out of the dictator’s playbook.
In Gulliver’s Travels, Jonathan Swift wrote: “I said there was a society of men among us, bred up from their youth in the art of proving, by words multiplied for the purpose, that white is black, and black is white, according as they are paid. To this society all the rest of the people are slaves.”
President Trump claims he wants to restore “truth and sanity to American history.” Facing the threat of termination, National Park Service employees may be forced to acquiesce to the insane notion of “a concerted and widespread effort to rewrite our Nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth.”
For the wannabe king, the truth is what he says it is.
In a joint statement, the American Association for State and Local History, Organization of American Historians, Association for the Study of African American Life and History, Association of African American Museums, and National Council on Public History, denounced Trump’s diktat to rewrite history:
National Park Service (NPS) sites are being forced to remove historical content that the White House views as “negative about either past or living Americans.” This top-down directive erases people and events that do not fit within a narrow, triumphalist view of history.
What makes this erasure even more alarming is that the U.S. Department of the Interior (DOI), which runs NPS, is couching its censorship efforts in the very terms that historians and educators often use to explain their own work. Federal officials are eliminating the experiences of Native Americans, African Americans, women, members of the LGBTQ+ community, and others from history while calling it—to quote a DOI spokesperson—“honest, respectful storytelling” that “honor[s] the complexity of our nation’s shared journey.” In fact, they are doing the opposite. And requiring knowledgeable NPS staff to attribute these alterations to the White House’s interest in “historical accuracy” is doubly deceptive and contrary to the professional standards by which historians conduct their work.
Our country’s 433 NPS sites, which serve millions of visitors per year, are just the starting point for this skewed approach to history, but they will not be the last. Recent pressure on the Smithsonian Institution, National Endowment for the Humanities, Institute for Museum and Library Services, and others show just how far this administration is willing to go to distort the past toward ideological aims in the present. This drive to sanitize and warp history endangers vital sources of public knowledge, from state and local history museums to social studies classrooms to libraries.
The President’s House: Freedom and Slavery in the Making of a New Nation, an open-air installation, was dedicated on December 15, 2010. The National Park Service site pays homage to the nine enslaved people in the household of President George Washington – Austin, Christopher Sheels, Giles, Hercules, Joe, Moll, Oney Judge, Paris and Richmond.
The President’s House at Independence National Historical Park was born out of protest.
In a sign of the times, the President’s House is in the crosshairs of President Trump who wants to sugarcoat and whitewash American history. The Philadelphia Inquirer reports the site has been flagged for content review:
The President’s House Site, where Presidents George Washington and John Adams once lived, came under particular scrutiny with six exhibits flagged for review. The exhibit focuses on the contradictory coexistence of liberty and slavery during the founding of America and memorializes the people Washington enslaved.
For instance, park staff commented on a display titled “Life Under Slavery,” flagging that it “speaks of whipping, depriving of food, clothing, and shelter; as well as beating, torturing, and raping those they enslaved.”
[…]
Thirteen specific items spread across six exhibits at the site were identified for review.
This includes components of displays titled: “Life Under Slavery,” “History Lost & Found,” “The Executive Branch,” “The Dirty Business of Slavery,” “The House and the People Who Worked & Lived In It,” and an illustration with the words “An Act respecting fugitives from Justice,” in reference to Washington’s signing of the Fugitive Slave Act, according to an internal form, reviewed by The Inquirer, where employees were directed to submit their reviews.
In 2002, the NPS had planned to ignore the full and accurate history of the site. The Liberty Bell Center, then-under construction, is in the footprint of President Washington’s slave quarters (circled).
Attorney Michael Coard, a founder of Avenging The Ancestors Coalition, was a member of the President’s House Project Oversight Committee which oversaw development and construction of the site. Coard led the charge to tell the full story.
We will resist any attempt to erase the complicated history of this memorial site.
As we protest to preserve the physical structure and interpretive panels, we also will use digital technologies and 3D modeling to reconstruct the President’s House and outbuildings without constraint or compromise.
The President’s House.ai will be accessible to visitors on any device or browser anywhere in the world.
We will create AI-generated avatars of the nine African descendants enslaved by President Washington, including Ona Judge (1773-1848) and Hercules Posey (1748-1812).
Visitors to the President’s House.ai will be able to hold real-time conversations with the AI ancestors. The avatars’ training will be grounded in trusted primary and secondary sources.
AI Ona will spill the tea on how she escaped from bondage.
President Washington placed an advertisement in the May 24, 1796 edition of The Philadelphia Gazette and Universal Daily Advertiser offering a $10 reward (roughly $365 today) for the capture of Oney Judge.
As activists, historians, architects and technologists resist President Trump’s efforts to censor uncomfortable truths, the witless president unwittingly triggered the Streisand Effect.
The inaugural North Philadelphia History Festival, a celebration of African American and Puerto Rican heritage through art, music, film, history and culture, will be held July 24-27, 2025.
In the summer of 1964, the Council of Federated Organizations (COFO) launched the Mississippi Freedom Summer Project. In addition to voter education, COFO organized 41 Freedom Schools where Black children were taught reading, writing and arithmetic, as well as Black history and culture.
In the winter of 2025, President Donald Trump signed an executive order to whitewash American history. Federal agencies are deleting webpages.
In a memorandum, Assistant to the Secretary of Defense for Public Affairs Sean Parnell wrote:
By March 5, 2025, Components must take all practicable steps, consistent with records management requirements, to remove all DoD news and feature articles, photos, and videos that promote Diversity, Equity, and Inclusion (DEI). All articles, photos, and videos removed from DoD websites and social media platforms must be archived and retained in accordance with applicable records management policies/
[…]
Social Media Content: Components must remove and follow records management requirements for DEI content removed from all official DoD social media accounts. If Components cannot remove DEI content from DoD social media accounts by March 5, 2025, they must temporarily remove from public display all news articles, photos and videos published between January 20, 2021, and January 19, 2025, until the content is fully reviewed and DEI content removed. While DBI-related content outside of this date range must also be removed, articles, photos, and videos from the last four years are the immediate priority to align DoD communication with the current Administration.
Federal agencies plan to decommission hundreds of websites. We must be intentional and fight the erasure of webpages related to Black history and culture.
Inspired by the freedom schools of the Civil Rights Movement, Archiving the Black Web (ATBW) has organized the Freedom School for Web Archiving, a series of webinars that will train “new generations of memory workers to preserve and steward online content that reflects the Black experience… Participants will gain foundational skills in web archiving—whether for personal, community, or institutional use—and explore how this work resists erasure, disinformation, and historical revisionism.”
The Freedom School for Web Archiving is free and open to the public. To register for a webinar, go here.
As the descendant of enslaved people, I mourn the Fourth of July.
That said, Independence Hall has a prominent place in Black history.
Independence Hall is the place where the Second Continental Congress unanimously adopted the Declaration of Independence on July 4, 1776; 34 of the 56 signers, including Thomas Jefferson, enslaved Black people.
Independence Hall is the place where the U.S. Constitution, which counted enslaved people as three-fifths of a person and mandated that freedom seekers be returned to bondage, was signed.
Independence Hall is the place where, from 1850 to 1854, hearings were held to return the self-emancipated to slavery under the Fugitive Slave Act of 1850.
Independence Hall is the place where master silhouette artist Moses Williams worked “every day and evening.”
I have nominated Moses for a Pennsylvania historical marker. If the nomination is approved, the marker will be installed near Independence Hall in 2026.
UPDATE: My nomination was approved. Moses Williams’ historical marker will be dedicated in 2026, the 250th anniversary of his birth.
In the meantime, All That Philly Jazz Founding Director Faye Anderson will lead a walking tour, Moses Williams’ Philadelphia.
To celebrate Black Music Month, I will give a gallery talk highlighting some of the items in the Historical Society of Pennsylvania’s exhibit, “Message In Our Music.” The items span the 1770s to the 1970s.
It was illegal for the enslaved to learn how to read or write. Stories and cultural practices were passed down from generation to generation in the music. In the prelude to gospel legend Bobby Jones’ “Just A Closer Walk with Thee,” Maya Angelou said, “They sung us all the way out of slavery.”
Music was the first draft of Black history.
One of the items in the exhibit is a collection of spirituals sung before the Civil War, including Free At Las’, compiled by Edward Avery McIlhenny whose family enslaved hundreds of Black people.
“Free at last” has resonated with African Americans for hundreds of years. The significance of the phrase was lost on Kroger. The supermarket chain came under fire for selling Juneteenth cakes decorated with AI slop.
TikToker Blaq Monalisa posted images of the cakes saying:
Y’all decorate everything else around here cute, everything else around here cute. But for Juneteenth, you wanna just throw something on a freaking cookie cake and expect someone to buy it.
The video went viral. After the backlash, Kroger said the “products have been removed” from the store.
The phrase “free at last” is known for being a prominent part of Martin Luther King’s “I Have A Dream” speech, borrowed from the title of a Negro-Spiritual song. And now the phrase, which represents a hard-fought struggle, is being featured on a supermarket cake, casually scribbled in internet shorthand.
As you will see in the “Message In Our Music” exhibit, the phrase predates Julia Perry’s 1951 composition.
My gallery talk is free and open to the public. To register, please go here.
UPDATE: Check out 6abc Action News’ report about the exhibition.
