All That Philly Jazz – PHL Watchdog

Section 106 Matters

On July 24, President Trump’s bootlickers on the Advisory Council on Historic Preservation voted to gut Section 106 of the National Historic Preservation Act. For six decades, Section 106 has required the federal government to examine whether federally funded, licensed or permitted projects would have an “adverse effect” on properties listed or eligible for listing on the National Register of Historic Places. The protection applies to housing, transportation, infrastructure, federal properties, community development, and other projects.

The proposed changes would dismantle public safeguards by:

Silencing public and community participation;
Weakening consultation with state and local preservation agencies;
Limiting consideration of alternatives that could prevent or minimize damage to historic places;
Giving federal agencies greater power to approve projects with far less public accountability.

The public review process was written into the law because Americans understood that once a historic building is demolished, a community’s cultural heritage is erased and there is no bringing it back.

Section 106 has never been about stopping progress. It is about ensuring that development does not come at the expense of history, culture, and community voices. It guarantees that the public has a seat at the table before the bulldozers arrive.

Brent Leggs, President and CEO of the National Trust for Historic Preservation, said in a statement:

The ACHP’s proposed changes to Section 106 will eviscerate the preservation of our shared civic and cultural heritage in the United States.

In 2017, I used the Section 106 review process to block the Philadelphia Housing Authority from demolishing 2125 Ridge Avenue, the former location of the Checker Café. The property is one of the few extant buildings from Philadelphia’s golden age of jazz.

The Pennsylvania State Historic Preservation Office agreed with me that 2125 Ridge Avenue is eligible for listing on the National Register of Historic Places. PHA was forced to stabilize the structure.

In the intervening years, PHA has let the building further deteriorate. Even in its dilapidated state, 2125 Ridge Avenue has more character than the cookie-cutter apartment buildings that now line Ridge Avenue from the former location of the Blue Note to the Checker Café.

The Blue Note and Checker Café are stops on the upcoming Neighborhood Jawnts Tour Series: Jazz in North Philly. I will lead the trolley tour the weekend of August 14-16, 2026.

The trolley tour is free and open to the public. Registration is required. To register, go here.

Trump’s Planned Sculpture Garden Strikes A Discordant Note

President Trump and his sycophants have eliminated diversity, equity and inclusion programs, gutted the Voting Rights Act, undermined public education, attacked Black studies, and erased Black history at National Park Service sites.

Secretary of Defense Pete Hegseth removed the portrait of Daniel “Chappie” James Jr., the nation’s first Black four-star general, from the Air Force Art Gallery. UFC fighter Josh Hokit made a racist comment about Michelle Obama on the White House lawn.

During his recent appearance on “The View,” Whoopi Goldberg asked Vice President JD Vance: “What did Black people do to this administration that has allowed it to, really, stigmatize folks of color?”

For Black people whose descendants were brought here in the bowels of slave ships, our cardinal sin is in our skin.

Black historical figures, who fought for everything that Trump is dismantling, are included in his proposed “National Garden of American Heroes.” Trump’s garden would feature statues of notable Americans, including Muhummad Ali, Crispus Attucks, Frederick Douglass, Medgar Evers, Martin Luther King Jr., Thurgood Marshall, Rosa Parks, Jackie Robinson, Ida B. Wells-Barnett and Phillis Wheatley.

Earlier this month, a coalition of advocacy, conservation and historical preservation organizations, including the National Parks Conservation Association, DC Preservation League and the Committee of 100 on the Federal City, filed a lawsuit to halt the project. The Washington Post reported:

A coalition of Washington-area preservation and cultural heritage organizations on Monday sued the Trump administration over President Donald Trump’s plan to remake national parkland with a massive statuary garden.

The groups said that Trump’s planned “National Garden of American Heroes” — which the president has said would feature life-size statues of roughly 250 Americans and be built in West Potomac Park — must be halted until Congress authorizes the project.

[…]

“Congress put clear laws in place to safeguard the National Mall from new construction and to ensure the public has a meaningful voice in decisions about landscapes that belong to them, as space open to all,” Tiernan Sittenfeld, president and CEO for the National Parks Conservation Association, said in a statement.

The sculpture park would also feature nine Black musicians.

Aretha Franklin sang at Barack Obama’s first inauguration.

There “ain’t no way” Aretha would want to be included in Trump’s vanity project. The Queen of Soul “would rather drink muddy water, sleep out in a hollow log.”

Like Aretha, Ray Charles supported the Civil Rights Movement. In a tribute to Brother Ray at the White House, then-President Barack Obama said:

Now, in those days, Black musicians were expected to play in the Jim Crow South. But in 1961 – the year I was born – Ray refused to play for a segregated audience in Augusta, Georgia. He was sued for breach of contract, but he continued boycotting segregated venues and became an active supporter of the Civil Rights Movement.

The Genuis of Soul didn’t suffer fools. Ray Charles would tell Trump to “hit the road Jack.”

Remembering Ona Judge

Ona “Oney” Judge (c. 1773-1848) was an enslaved Black woman held in bondage by George Washington and Martha Washington at Mount Vernon and the President’s House in Philadelphia. As Martha Washington’s personal servant, Ona was responsible for dressing and bathing her, managing her wardrobe, mending clothing, and cleaning personal rooms.

Ona “absconded” from the President’s House on May 21, 1796.

Ona was never caught.

Philadelphia City Council recently passed a resolution designating May 21 annually as “Ona Judge Day.”

City Council also recognized Michael Coard and Avenging The Ancestors Coalition (ATAC) for their “sustained advocacy to ensure the truth about slavery at the President’s House is told, preserved, and publicly recognized.”

Join ATAC on Thursday, May 21, 2026 at 3:30 pm for their 23rd annual Ona “Oney” Judge celebration at the President’s House Site.

For more information, visit Avenging The Ancestors Coalition.

Preservation Month 2026

May is Preservation Month, an annual celebration dedicated to promoting the importance of preserving historic places and cultural heritage. This year’s theme, “all people are created equal,” focuses on places that tell the full American story.

As the nation marks 250 years since the Declaration of Independence, preservation demands urgency, honesty, and accountability. The words “all people are created equal” did not include Black people. The built environment carries the evidence of that contradiction.

At its core, historic preservation is about storytelling. At my upcoming walking tour, Hercules Posey’s Philadelphia, we will visit historic landmarks to tell the story of President George Washington’s enslaved chief cook. Places like Independence Hall, Congress Hall, Old City Hall and Christ Church.

We will stop at sites that hold Hercules’ story. Sites such as Ricketts Circus and the High Street Market. We will also stroll down the 100 block of Black Horse Alley which was added to the Philadelphia Register of Historic Places’ Historic Street Paving Thematic District in 1998. Some of the granite blocks date back to Hercules’ time in Philadelphia.

Walking in Hercules Posey’s Footsteps will be held on Saturday, May 16, 2026, from 10 a.m. to 12 p.m. The event is free but reservations are required. To reserve a spot, go here.

George Washington and Slavery

In arguable violation of U.S. District Judge Cynthia M. Rufe’s order, the National Park Service, without notice or collaboration with the City of Philadelphia and Avenging The Ancestors Coalition (ATAC), uploaded digital renderings to the President’s House Site webpage. The alternative interpretive panels erase the truth about George Washington and slavery.

In a Philadelphia Inquirer op-ed, Michael Coard, founder of ATAC, wrote:

These were not restorations. They were revisions — an attempt to soften and sanitize George Washington’s deep involvement in slavery, recasting a man who enslaved African men, women, and children from the age of 11 until his death as someone merely “uncomfortable” with the institution. They even suggest the enslaved in Philadelphia experienced a “modicum of autonomy.”

Let’s be clear: There is no autonomy in enslavement.

If Washington felt “discomfort,” imagine the lived reality of the 316 African descendants he held in bondage. If NPS believes “autonomy” applies to human beings in chains, then it fundamentally misunderstands the brutality of slavery.

From his first breath at Pope’s Creek to his last breath at Mount Vernon, Washington was surrounded by enslaved people. Throughout his life, he was involved with the institution of slavery. While his views on slavery changed over time, Washington’s private musings are trumped by his public actions.

Fact is, Washington did not emancipate an enslaved person during his lifetime.

Washington “owned” outright 123 Black people. His personal servant, William “Billy” Lee, was the only one given “immediate freedom” upon Washington’s death. The remaining 122 enslaved people were to be freed upon the death of Martha Washington.

Washington owned, bought, sold, rented and bargained for Black people. He pursued those who dared to seek their freedom. From 1771 to his death in 1799, he pursued freedom seekers including Harry, Hercules Posey and Ona Judge.

I am nominating President Washington’s enslaved chief cook, Hercules Posey, for a Pennsylvania historical marker. I will submit the nomination on May 15, 2026, the 214th anniversary of his death.

On Saturday, May 16, 2026, I will lead a walking tour of people, places and events in Hercules Posey’s Philadelphia. To join us, send your name and email address to phlwatchdog@gmail.com.

April is Jazz Appreciation Month, a nationwide celebration to recognize jazz as a uniquely American art form rooted in Black history and cultural expression. Established in 2001 by the National Museum of American History, people of all ages are encouraged to engage with jazz through education and performance.

Jazz at Lincoln Center recently launched JazzCall for Freedom, a “coordinated civic response to a moment of deep division in our country.” The bandstand is turned into “a public square for civic expression and renewal.”

JazzCall for Freedom is a call to action against “a rising movement towards authoritarianism.” The social media campaign uses jazz to engage with ideas about democracy and freedom.

Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis notes that “jazz has always been a civic minded music and it gives us a chance to be a part of that legacy.” That legacy dates back to Billie Holiday whose 1939 recording of “Strange Fruit” is the first protest song of the modern Civil Rights Movement.

Each Friday, Jazz at Lincoln Center will share a video featuring an artist performing a chorus of a song embodying the spirit of democracy. This week’s song is Stevie Wonder’s “Visions” performed by Cécile McLorin Salvant and Sullivan Fortner.

For information on how you can add your voice to this national “call and response,” visit jazz.org/jazzcall.

Erasing History from National Parks

This weekend, I led a teach-in at the President’s House Site organized by the Association of Philadelphia Tour Guides.

There was a steady stream of visitors to the site. Most were aware that the National Park Service removed the interpretive signs and were ordered to reinstall them. However, they were surprised the President’s House Site has not been restored to its physical status as of January 21, 2026 as ordered by U.S. District Judge Cynthia M. Rufe.

The Department of the Interior appealed Judge Rufe’s order to the Third Circuit Court of Appeals. Full restoration of the site was paused by Judge Thomas M. Hardiman. As the lawsuit, City of Philadelphia v. Doug Burgum, Secretary of the Interior, et al., moves through the federal courts, the President’s House Site will remain partially restored.

On the two-month anniversary of the removal of the interpretive panels, CBS Sunday Morning aired a report, “Signs of the times: Removing stories of America’s past from our national parks.”

Jim Axelrod interviewed Alan Spears, Senior Director for Cultural Resources at the National Parks Conservation Association.

Spears has a clear message for those who cannot handle the truth about the “nuanced nature of our history”:

If you are thinking about visiting a national park, if you don’t want to tackle any of these large issues that make you think critically about race and slavery, and gender and other things like that, there are hundreds of thousands of places in the United States where you can go. Knock yourself out at Six Flags but don’t ruin it for the rest of us who have come to rely on national parks as places for that learning.

We want to maintain their ability, unimpaired, to be able to talk about the full scope of our history – wonder, warts and all.

President Trump wants to erase the fact-based history told at the President’s House Site. Removal of the interpretive panels is a “sign o’ the times.”

Winter of Discontent at Kennedy Center

Donald Trump’s first year back in the White House was an annus horribilis. As the curtain was falling on 2025, President Trump’s handpicked Board of Trustees slapped his name on the John F. Kennedy Center for the Performing Arts. The Trump-stacked board changed the bylaws to allow only his sycophants to vote on the name change. Trump’s name on the building desecrates the living memorial to the 35th President of the United States.

By law, “no additional memorials or plaques in the nature of memorials shall be designated or installed in the public areas of the John F. Kennedy Center for the Performing Arts.” The illegal renaming prompted jazz drummer and vibraphonist Chuck Redd to cancel his Christmas Eve concert.

In a letter to Redd, Kennedy Center President Richard Grenell wrote this is “your official notice that we will seek $1 million in damages from you for this political stunt.”

Redd should call Grenell’s bluff. He would not have to worry about legal fees. Requests for donations to his legal defense fund would break the internet. It’s laughable to think the Kennedy Center would seek $1 million in damages for the cancellation of a free concert. There were no ticket sales; there were reservations. Through the discovery process, Redd would gain access to Board minutes and financial records.

Courage is contagious. Fall of Freedom is giving way to Winter of Discontent at the Kennedy Center. Shortly after Trump installed himself as chairman, “Hamilton” canceled its 2026 run at the storied art and culture institution.

The Cookers cancelled their New Year’s Eve concerts. The band’s drummer, Billy Hart, told the New York Times “the center’s name change had ‘evidently’ played a role” in the cancellation.

In canceling their gigs, Redd, the Cookers and the cast of “Hamilton” are following in the footsteps of the legendary citizen artists featured in the Kennedy Center’s immersive exhibit, “Art and Ideals.”

At the 1964 Berlin Jazz Festival, Dr. Martin Luther King Jr. observed that jazz musicians were the vanguard of the Civil Rights Movement. In a statement posted on their website, the Cookers said:

Jazz was born from struggle and from a relentless insistence on freedom: freedom of thought, of expression, and of the full human voice. Some of us have been making this music for many decades, and that history still shapes us. We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it.

NEA Jazz Master Billy Taylor was artistic director at the Kennedy Center from 1994 until his death in 2010. Dr. Taylor’s composition, “I Wish I Knew How It Would Feel to Be Free,” was an unofficial anthem of the Civil Rights Movement.

Redd’s canceled concert was to be held on the Millennium Stage. The Billy Taylor Trio inaugurated the Millennium Stage on March 1, 1997.

As long as Trump’s name is on the wall, jazz musicians should not set foot in the building. The only jazz should be live from the archives, Billy Taylor’s Jazz at the Kennedy Center (here and here).