John Coltrane House Philadelphia Listed on 2020 Pennsylvania At Risk

Legendary jazz saxophonist and composer John Coltrane belongs to the world.

John Coltrane - Google Trend - One Year

Philadelphia has a special claim to the worldwide icon because of what happened in a rowhouse in the Strawberry Mansion neighborhood. It was in this house that Coltrane experienced “a spiritual awakening,” kicked his heroin addiction and composed “Giant Steps.”

John Coltrane on Porch - 1511 N. 33rd Street

Coltrane’s Strawberry Mansion home was added to the Philadelphia Register of Historic Places in 1985. While thousands of places are listed on the Philadelphia register, only 67 are National Historic Landmarks, the highest designation for a historic property. The John Coltrane House was designated a National Historic Landmark on January 20, 1999.

What should be a source of civic pride has become a national embarrassment. As early as 2003, the National Park Service noted the John Coltrane House has structural and aesthetic issues. Good intentions notwithstanding, the National Historic Landmark is deteriorating before our eyes. So the choice is stark: Continue to wring our hands or do something. For the love of Coltrane, we chose to do something.

In collaboration with the Preservation Alliance for Greater Philadelphia, Avenging The Ancestors Coalition and Jazz Bridge, All That Philly Jazz Director Faye Anderson prepared the nomination of the John Coltrane House for inclusion on Preservation Pennsylvania’s annual list of endangered properties. On the eve of Black History Month, John Coltrane House Philadelphia was named to 2020 Pennsylvania At Risk.

2020 Preservation At Risk

Preservation Pennsylvania is a private, nonprofit organization “dedicated to the protection of historically and architecturally significant properties.” The John Coltrane House is at risk due to its deteriorating condition and financial capacity of the owner(s):

The future is uncertain for the house. Past efforts to offer maintenance and planning assistance were unsuccessful, although the family member involved in those discussions has since passed away. As a National Historic Landmark, the designation provides the house with no protections from demolition, alterations or neglect. The house is listed on the Philadelphia Register of Historic Places, which does provide protection from demolition and a process for review of proposed alterations. However, at this time, the house is simply in stasis, while the elements, age and time take their toll.

Julia Chain, Associate Director of Preservation Pennsylvania, said:

Preservation Pennsylvania hopes to work with the owners and supporters in the local preservation and jazz communities to find a way forward for this property.

The way forward includes assessing the structural stability of the John Coltrane House. Philadelphia Mayor Jim Kenney has the authority to order the Department of Licenses and Inspections to inspect the property.

Show your love for John Coltrane by contacting Mayor Kenney and sharing your concern that the status quo is unacceptable. Mayor Kenney can be contacted by phone at (215) 686-2181 or email at james.kenney@phila.gov. He can also be contacted on Twitter or Facebook.

John Coltrane House Philadelphia matters.

Freedom Songs: Soul of the Civil Rights Movement

I love music, any kind of music.

Music sustained the ancestors and was the soul of the Civil Rights Movement. Dr. Martin Luther King Jr. said:

In a sense the freedom songs are the soul of the movement. They are more than just incantations of clever phrases designed to invigorate a campaign; they are as old as the history of the Negro in America. They are adaptations of the songs the slaves sang — the sorrow songs, the shouts for joy, the battle hymns and the anthems of our movement. I have heard people talk of their beat and rhythm, but we in the movement are as inspired by their words. ‘Woke up This Morning with My Mind Stayed on Freedom’ is a sentence that needs no music to make its point. We sing the freedom songs today for the same reason the slaves sang them, because we too are in bondage and the songs add hope to our determination that ‘We shall overcome, black and white together, we shall overcome someday.’

To celebrate the 25th anniversary of Martin Luther King Jr. Day, the National Museum of African American Music curated a playlist of songs that ignited social change.

Sounds of Social Justice - Featured

The songs include Sam Cooke’s “A Change is Gonna Come,” Marvin Gaye’s “Inner City Blues (Make Me Wanna Holler),” John Coltrane’s “Alabama” and Billie Holiday’s “Strange Fruit.” You can listen to “Sounds of Social Justice: MLK 2020” here.

Philadelphia’s 20th Century ‘Underground Railroad’

Victor Hugo Green, publisher of The Negro Motorist Green Book, was a visionary.

Victor_Hugo_Green_1892-1960_in_1956

Green envisioned a network of safe and welcoming places for African Americans. First published in 1936, the travel guide targeted the New York City metropolitan area. By 1938, the Green Book included all of the states east of the Mississippi River.

Green Book - 1938

Over time, there were thousands of listings across the United States, Canada, the Caribbean, Mexico, South America and Europe. The highest concentration was in cities with large African American populations including Atlantic City, Washington, DC, Atlanta, Chicago and Philadelphia.

Green Book Sites - 1956

Check out this WHYY podcast focusing on Philadelphia’s extant Green Book sites, “Philly’s ‘20th century Underground Railroad’ hides in plain sight.”

Visualizing Slavery

The oldest-known photograph of enslaved black people with cotton was recently purchased at auction for $324,500 on behalf of the Nelson-Atkins Museum of Art in Kansas City, Missouri.

Visualizing Slavery

Sabrina Imbler reports:

The image is simple haunting. Ten enslaved African-American people stand in front of a two-story, white clapboard building, some with baskets of cotton on top of their heads. A boy bows his head in the lower-left corner, his back to the camera. It’s a quarter-plate daguerreotype, a little larger than a deck of cards but brimming with details visible only when magnified: the individual leaves of the plants encircling a well, the woven wicker of the baskets. The antebellum photograph, believed to date back to the 1850s, is the oldest-known image of enslaved people with cotton, the commodity that they were forced to harvest.

Recently, at Cowan’s American History auction, the Hall Family Foundation purchased the photograph for $324,500, on behalf of the Nelson-Atkins Museum of Art in Kansas City, Missouri. “I had never seen an image like this before,” says Jane Aspinwall, the curator of photography at the Nelson-Atkins Museum.

Images of enslaved African-American people are relatively rare, and were almost always taken at the behest of the slaveholder, according to critic Stephen Best in “Neither Lost nor Found: Slavery and the Visual Archive,” published in a 2011 issue of the journal Representations. “However exhaustive one’s catalog of the visual archive of slavery, it will always be lacking in works by slaves themselves,” he writes.

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Visualizing Racism

The Civil War ended on April 9, 1865 when Confederate General Robert E. Lee surrendered to Union General Ulysses S. Grant at Appomattox Court House. Still, the fight over the meaning of the South’s Lost Cause continues.

Picture this: Former South Carolina governor Nikki Haley said the Confederate Flag was hunky-dory until Dylan Roof “hijacked” it from the descendants of slave owners and their sympathizers for whom it symbolized “service, and sacrifice and heritage.”

Haley’s spin is fake news. William T. Thompson long ago spilled the tea on the meaning of the Confederate flag.

Confederate-Flag-Design

The symbol of white supremacy was weaponized during the Jim Crow era as African Americans fought for equal protection under the law and civil rights.

Confederate Flag - Don't You Wish You Were White

Confederate Flag - We Want a White School
A recent issue of the Washington Post Magazine is devoted to photography that documents struggles with racism. Washington Post Columnist Eugene Robinson wrote in the introduction:

Racism is this nation’s telltale heart beating ominously in the collective subconscious. From time to time we come to believe we have expiated and silenced it once and for all. But then it is back — changed, perhaps attenuated, but unmistakable.

[…]

This is how the war against racism goes: progress, setback, optimism, despair — a cycle that frustratingly repeats and yet somehow inches us forward. Racism may be worse than in the recent past, but the individual and collective punishment it metes out is a shadow of what black Americans suffered a half-century ago. We have no choice but to believe that the Rev. Martin Luther King Jr. was right when he said that the arc of the moral universe is long but bends toward justice. We have somehow taken a detour, however, and must find our way back to the true path.

This issue is devoted to photography that documents this moment — not just our external struggle with racism, but the internal struggles as well. Some of the images are beautiful and unsettling. Some are jarring. If some make us uncomfortable, that is progress. An easy conversation about racism is not a real conversation at all.

The full issue is available here.