Respect, starring Academy Award®-winner Jennifer Hudson, opens on Friday, August 13, 2021.
The Queen of Soul’s gospel roots and civil rights activism ran deep. Her father, Rev. C. L. Franklin, was a civil rights leader who mentored a young Martin Luther King Jr. Ms. Franklin toured the country with Dr. King and the Southern Christian Leadership Conference and used her voice to “deliver music for social justice.”
Ms. Franklin supported the Black Panther Party and the Free Angela Movement.
Congregations and organizations across the country will participate in RESPECT Sunday, “a nationwide campaign of faith leaders who will preach, teach, and share about themes of faith, family and civil rights that were deeply woven into the fabric of Ms. Franklin’s story in their worship services on Sunday, August 8, 2021.”
Philadelphia is the best place to discuss race relations because there is more race prejudice here than in any other city in the United States. — W. E. B. Du Bois, 1927
City Council passed a one-year demolition moratorium for six blocks of Christian Street in the most gentrified neighborhood in Philadelphia. The mayor is expected to sign the bill which is sponsored by Councilmember Kenyatta Johnson who is under federal indictment.
The purpose of the moratorium is to give the Preservation Alliance for Greater Philadelphia time to prepare the nomination for the proposed Christian Street Historic District. Architect Julian Abele and Rev. Charles Tindley are the most notable residents of that stretch of Christian Street. Abele and Tindley lived on the 1500 block but gentrifiers are pushing to designate six blocks. As I told a reporter with PlanPhilly, the proposed historic district trivializes Black history in an effort to preserve the historic fabric of blocks from which African Americans have been displaced:
However, Faye Anderson, a local historic preservationist who has focused on saving vulnerable Black historical sites, said she opposed the effort.
She said the district was an “excuse” to preserve some statelier buildings in a gentrified neighborhood that has become majority-white in recent decades. Anderson said a blanket designation for a thematic district based on the presence of some wealthier African American residents for a period of time in an otherwise segregated neighborhood was “trivializing” to the city’s wider Black history.
Historic preservation is about storytelling. The period of significance of proposed Christian Street Historic District, aka Doctor’s Row, spans the Great Migration, the Great Depression, President Franklin D. Roosevelt’s New Deal and World War II. Doctor’s Row would memorialize a minuscule number of Black professionals who moved on up from racially segregated blocks in the 7th Ward to racially segregated blocks with nicer rowhouses in the 30th Ward.
While the elites of Doctor’s Row were serving tea, NAACP Executive Secretary Carolyn Davenport Moore was serving justice. Prior to 1944, Philadelphia Transportation Company (PTC) consigned Black workers to jobs as porters, messengers or tracklayers. The positions of motorman and trolley operator were for white workers only. Moore organized protest marches. The NAACP filed complaints with the Fair Employment Practices Committee on the grounds PTC’s hiring practices violated Executive Order 8802 which banned discrimination in the defense industry.
The NAACP prevailed in the first civil rights battle of the modern era. Legendary drummer Philly Joe Jones was a drum major for justice. He was in the first group of eight African American trolley operators.
Philly Joe later moved to New York City where he likely spent time on Striver’s Row. The two blocks of rowhouses were home to, among others, jazz luminaries. Striver’s Row was designated the St. Nicholas Historic District in 1967 and added to the National Register of Historic Places in 1975. Striver’s Row represents a Who’s Who of Black America. By contrast, Doctor’s Row has Black folks asking: Who dis?
This is your annual reminder that jazz is Black music. The demographics of those who get gigs, grants, fellowships, teaching opportunities, etc., are radically different from those who created jazz. But don’t get it twisted. They are enjoying the fruit of a tree which they didn’t plant. Jazz pianist, arranger and composer Mary Lou Williams drew a picture for the slow learners.
A race man, Duke Ellington said, “Dissonance is our way of life in America. We are something apart, yet an integral part. … I am trying to play the natural feelings of a people.”
A 1959 film, The Cry of Jazz, sparked controversy when one of the characters asserted that “jazz is merely the Negro’s cry of joy and suffering.” The character, Alex, explained that “the Negro was the only one with the necessary musical and human history to create jazz.”
The film was added to the National Film Registry of the Library of Congress in 2010. The films selected are considered “culturally, historically or aesthetically significant, to be preserved for all time. These films are not selected as the ‘best’ American films of all time, but rather as works of enduring significance to American culture.”
Throughout our history, there has been no richer influence on the American songbook than Black music and culture. From early spirituals born out of the unconscionable hardships of slavery; to the creation of folk and gospel; to the evolution of rhythm and blues and jazz; to the ascendance of rock and roll, rap, and hip-hop — Black music has shaped our society, entertained and inspired us, and helped write and tell the story of our Nation.
During Black Music Appreciation Month, we honor the innovative artists whose musical expressions move us, brighten our daily lives, and bring us together. Across the generations, Black music has pioneered the way we listen to music while preserving Black cultural traditions and sharing the unique experiences of the Black community. Black artists have dramatically influenced what we all hear and feel through music — joy and sadness, love and loss, pride and purpose.
I embrace Duke Ellington’s dictum that there are two kinds of music, good music and the other kind. I love good music but I live for the blues.
I’m living proof of the power of music to transform lives.
At age 84, Buddy Guy is getting his flowers – and American Masters treatment.
Buddy Guy: The Blues Chase The Blues Away premieres on July 27, 2021 at 9 p.m. ET. The documentary will be available on PBS and PBS Video App.
Since 1982, the National Endowment for the Arts has awarded Jazz Masters fellowships, the nation’s highest honor in jazz, to individuals who have made significant contributions to America’s classical music. The 2021 NEA Jazz Masters include Philadelphia native Albert “Tootie” Heath.
Drummer Tootie Heath is the youngest of the three Heath Brothers. Back in the day, the family home was a welcoming space for jazz musicians. The legendary jam sessions in their parents’ basement attracted the likes of John Coltrane, Benny Golson, Dizzy Gillespie and Charlie Parker.
The NEA Jazz Masters Tribute Concert will be co-hosted by 2017 NEA Jazz Master Dee Dee Bridgewater and actor Delroy Lindo.
NEA Acting Chairman Ann Eilers said:
As part of our efforts to give all Americans access to the arts we are proud to partner with SFJAZZ on this virtual concert. It is an opportunity for audiences around the world to tune in and explore the honorees’ many contributions to jazz while also experiencing an evening of performances by an incredible line-up of jazz musicians.
SFJAZZ Founder and Executive Artistic Director Randall Kline added:
It is an honor to again partner with the NEA to celebrate these Jazz Masters. We are looking forward to all of these artists and our global communities coming together to honor these legendary jazz masters for their profound contributions to our world.
The free concert will be livestreamed on Thursday, April 22, 2021 at 8:00 p.m. ET/5:00 p.m. PT. on arts.gov and sfjazz.org, among other platforms. For more information, go here.
But jazz to me is one of the inherent expressions of Negro life in America; the eternal tom-tom beating in the Negro soul—the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.
The Smithsonian’s National Museum of African American History and Culture (NMAAHC) is celebrating Jazz Appreciation Month and National Poetry Month with online programs, including “The Power of Poetry Blog Series.” For information on African Americans’ contributions to today’s jazz and poetry landscape, visit NMAAHC.
As made clear in his remarks before the 1964 Berlin Jazz Festival, Dr. Martin Luther King Jr. understood the power of jazz to bring about social change.
Sadly, Dr. King was assassinated on April 4, 1968 while standing on the balcony of the Hotel Lorraine in Memphis, Tennessee. I want to kick off Jazz Appreciation Month by remembering the Prince of Peace in song.
Located in the Tioga neighborhood in North Philly, the 1400-seat Tioga Theater opened in 1915 and operated as a movie theater until circa 1950.
In the late 1950s and ‘60s, top jazz artists performed here including John Coltrane, James Moody, Zoot Simms, Donald Byrd, Sarah Vaughan, Kenny Rodgers and Cannonball Adderley. On January 12, 1958, Dizzy Gillespie and Lee Morgan headlined a concert. The Philadelphia Tribune reported:
What began as a sizable crowd for Sunday’s jazz matinee concert at the Tioga Theater, became what is known in the newspaper business as a SRO (standing room only) gathering by nightfall. It all goes to prove that Rock-N-Roll hasn’t as yet completely captivated the musical world–and modern jazz is nowhere near dead.
The Tioga was repurposed and later abandoned by Deliverance Evangelical Church in 1973. It has been vacant ever since.
It has been nearly 62 years since Billie Holiday passed away. Hundreds of dissertations, books, films and documentaries later, she is a blank canvas onto which fans and detractors project their hopes, dreams and issues. I see a strong Black woman whose back did not bend.
From an early age, Billie was failed by the institutions that should have protected her. She was racially profiled and harassed by the FBI and hounded by the Philadelphia Police Department. From where Billie sat, the whole of the United States was arrayed her. But still she persisted. She didn’t give a damn what folks thought about her drug abuse, sexuality or string of no-good men.
Billie was a popular club artist and concert artist but she harbored no illusion about her audiences. She famously said, “They come to see me fall on my ass.” While there, she demanded their attention when she sang “Strange Fruit,” the anti-lynching protest song that took a toll on her livelihood and ultimately her life.
The Billie Holiday historical marker at 1409 Lombard Street piqued my interest in investigating her story beyond the marker. One of Billie’s Philadelphia stories is told in the new biopic starring Andra Day and directed by Lee Daniels.
The United States vs. Billie Holiday is now streaming on Hulu.