Tag Archives: Gentrification

Historic Preservation and Racial Justice

All That Philly Jazz Director Faye Anderson was recently interviewed by the Advisory Council on Historic Preservation. The federal agency “promotes the preservation, enhancement, and sustainable use of our nation’s diverse historic resources, and advises the President and the Congress on national historic preservation policy.” The following is an excerpt from the interview.

What led you to your field?
I am a lifelong social justice activist. But I am an “accidental” preservationist. My interest in historic preservation was piqued by the historical marker that notes Billie Holiday “often lived here” when she was in Philadelphia. I went beyond the marker and learned that “here” was the Douglass Hotel. I wanted to know why Lady Day stayed in a modest hotel when a luxury hotel, the Bellevue-Stratford (now the Bellevue Philadelphia), is located just a few blocks away. The Douglass Hotel was first listed in The Negro Motorist Green Book in 1938. The Green Book was a travel guide that helped African Americans navigate Jim Crow laws in the South and racial segregation in the North.

#GreenBookPHL Collage

How does what you do relate to historic preservation?
There are few extant buildings associated with Philadelphia’s jazz legacy. In cities across the country, jazz musicians created a cultural identity that was a stepping stone to the Civil Rights Movement. All That Philly Jazz is a crowdsourced project that is documenting untold or under-told stories. At its core, historic preservation is about storytelling. The question then becomes: Whose story gets told? The buildings that are vessels for African American history and culture typically lack architectural significance. While unadorned, the buildings are places where history happened. They connect the past to the present.

Why do you think historic preservation matters?
For me, historic preservation is not solely about brick-and-mortar. I love old buildings. I also love the stories old buildings hold. To borrow a phrase from blues singer Little Milton, if walls could talk, they would tell stories of faith, resistance, and triumph. Historic preservation is about the power of public memory. It’s about staking African Americans’ claim to the American story. A nation preserves the things that matter and black history matters. It is, after all, American history.

What courses do you recommend for students interested in this field?
Historic preservation does not exist in a vacuum. The built environment reflects social inequities. I recommend students take courses that will help them understand systemic racism and how historic preservation perpetuates social inequities. In an essay published earlier this year in The New Yorker, staff writer Casey Cep observed: “To diversify historic preservation, you need to address not just what is preserved but who is preserving it—because, as it turns out, what counts as history has a lot to do with who is doing the counting.”

Places associated with African Americans have been lost to disinvestment, urban planning, gentrification and implicit bias. For instance, the Philadelphia Historical Commission rejected the nomination of the Henry Minton House for listing on the local register despite a unanimous vote by the Committee on Historic Designation. The Commission said the nomination met the criteria for designation but the property is not “recognizable” (read: lacked integrity). Meanwhile, properties in Society Hill with altered or new facades have been added to the local register.

Do you have a favorite preservation project? What about it made it special?
Robert Purvis was a co-founder of the American Anti-Slavery Society, the Library Company of Colored People and the Pennsylvania Anti-Slavery Society. By his own estimate, he helped 9,000 self-emancipated black Americans escape to the North.

The last home in which the abolitionist lived is listed on the Philadelphia Register of Historic Places. The property has had the same owner since 1977. As the Spring Garden neighborhood gentrified, the owner wanted to cash in and sell the property to developers who planned to demolish it. The property is protected, so he pursued demolition by neglect. Over the years, the owner racked up tens of thousands of dollars in housing code violations and fines. In January 2018, the Spring Garden Community Development Corporation petitioned the Common Pleas Court for conservatorship in order to stabilize the property. The petition was granted later that year. A historic landmark that was on the brink of collapse was saved by community intervention.

Can you tell us what you are working on right now?
The John Coltrane House, one of only 67 National Historic Landmarks in Philadelphia, is deteriorating before our eyes. In collaboration with the Preservation Alliance for Greater Philadelphia, Avenging The Ancestors Coalition and Jazz Bridge, I nominated the historic landmark for inclusion on 2020 Preservation At Risk. The nomination was successful. As hoped, the listing garnered media attention. Before the coronavirus lockdown, several people contacted me and expressed interest in buying the property. The conversations are on pause. I am confident that whether under current “ownership” (the owner of record is deceased), new ownership or conservatorship, the rowhouse where Coltrane composed “Giant Steps” and experienced a spiritual awakening will be restored to its former glory.

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Art, Jazz and Activism in North Philadelphia

Jazz musicians were about intersectionality before the term was coined. During 2018 Jazz Appreciation Month, I moderated a conversation on art, jazz and activism, curated by Black Quantum Futurism and Icebox Project Space.

Blue Note Salon

The panel discussion and community forum featured artists/activists Josh Graupera,  Stormy Kelsey, Michael O’Bryan and Tieshka K. Smith. The audio is now available on Artblog Radio.

Jane’s Walk: North Broad Street Then & Now

Since 2007, community historians across North America and around the world have taken to the streets to lead a Jane’s Walk, “a movement of free, citizen-led walking conversations inspired by Jane Jacobs.”

On Saturday, May 5, 2018, I will lead a Jane’s Walk, “North Broad Street Then & Now.” We will uncover North Broad Street’s forgotten past as an enclave of nouveau riche industrialists. North Broad was also an entertainment destination for African Americans. That was then.

Now after years of neglect and disinvestment, North Broad is experiencing a development boom. We will explore North Central Philadelphia’s jazz history and issues ripped from the headlines such as gentrification, civil rights and cultural heritage preservation.

The walking tour will begin at the Metropolitan Opera House that was commissioned by Oscar Hammerstein.

Metropolitan Opera House Collage

Points of interest along the way include:

  • Majestic Hotel/Beaux Arts Café
  • Flamingo Apartments
  • Loyal Order of Moose Lodge/Legendary Blue Horizon
  • Heritage House/Freedom Theater
  • Alfred E. Burk Mansion
  • Progress Plaza
  • Chesterfield Hotel/Ebony Lounge
  • Barber’s Hall
  • Linton’s Restaurant
  • Grand Opera House/Nixon Grand Theatre

The walk will end at Temple University Mitten Hall, where John Coltrane last performed in Philadelphia. That night, Coltrane played “My Favorite Things” which he first recorded in 1961. The show tune is from “The Sound of Music,” a Broadway musical with music by Richard Rodgers and lyrics by Oscar Hammerstein II, the grandson of the industrialist who commissioned the Metropolitan Opera House.

Mitten Hall Collage

We will meet at the Metropolitan Opera House, located at 858 N. Broad Street (at Poplar Street). The free event will be held, rain or shine, on Saturday, May 5, from 10:00am to 11:30am. No reservations are required.

Blue Note Salon

On December 8, 1956, the Miles Davis Quintet, featuring Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums) performed at the Blue Note. The set was featured on the Mutual Network live remote radio broadcast, Bandstand, U.S.A.

That same night, the police raided “the town’s swankiest jazz emporium.” The Blue Note was a “black and tan” club, an integrated nightspot where blacks and whites socialized on an equal basis. As such, it was the target of police harassment.

Philadelphia Tribune - Dec. 11, 1956

From the beginning, jazz was a tool for social change. Jazz musicians’ unbowed comportment created a cultural identity that was a steppingstone to the Civil Rights Movement. In remarks to the 1964 Berlin Jazz Festival, Dr. Martin Luther King Jr. said jazz is “triumphant music”:

Jazz speaks for life. The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.

This is triumphant music.

Modern jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth which flow through his instrument.

It is no wonder that so much of the search for identity among American Negroes was championed by Jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls.

Much of the power of our Freedom Movement in the United States has come from this music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down.

On April 21, 2018, All That Philly Jazz and Black Quantum Futurism will present the “Blue Note Salon” which pays homage to jazz musicians’ legacy of resistance. The community discussion will feature creative change makers who work on social justice issues. Their work is at the intersection of art, community engagement and social change.

Blue Note Salon

The event is free and open to the public. To RSVP, go here.

Harlem on My Mind

Gentrification is displacing longtime residents in historically African American neighborhoods from Bedford-Stuyvesant in Brooklyn to Baldwin Hills in Los Angeles.

Gentrification - Historically Black Neighborhoods

I grew up in Bed-Stuy and went to college in Harlem where an iconic mural, the “Spirit of Harlem,” was covered up by Footaction, a sneaker and apparel company.

Spirit of Harlem Mural2

Langston Hughes famously asked, “What happens to a dream deferred?”


We know what happens if we don’t fight the collateral damage of gentrification. African American cultural heritage and presence will be erased from public memory. So Harlem activists are organizing to give the boot to Footaction.

Give the Boot to Fooaction

For me, it’s déjà vu all over again. In 2015, Pennrose Properties demolished the “Tribute to John Coltrane” mural in the Strawberry Mansion neighborhood in North Philadelphia.

Tribute to John Coltrane Mural2

But rather than simply lament its destruction, I made some noise in my capacity as director of All That Philly Jazz. Fast forward two years, Pennrose Chairman and CEO Richard K. Barnhart thanked me for my activism. Barnhart told me that in raising awareness of the importance of cultural heritage preservation I “made him a better person.”

On September 24, 2017, the “Why We Love Coltrane” mural was dedicated.

Why We Love Coltrane-3

The mural was funded by Pennrose Properties and the City of Philadelphia, in partnership with All That Philly Jazz, Strawberry Mansion Neighborhood Action Committee and Fairmount Park Conservancy.

Why We Love Coltrane Acknowledgements

Footaction is owned by retail giant Foot Locker. Together, we can make Footaction a better corporate citizen. Let’s make some noise.

UPDATE: After making some noise on Twitter, I received a DM from Footaction.

Footaction - Direct Message - 12.12.17

True to its word, restoration of the “Spirit of Harlem” mural is in progress.

Footaction - Restoration in Progress

Advocacy works!