New generations of producers and performers could shine on a North Philly stage that birthed and bolstered the careers of legends, but local government and communities must invest.
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As a young boy, my Sunday mornings meant racing my older brother to see who would sit in the very front, singular seat on the subway as we rode to church, which was hosted at the legendary, iconic, and now defunct Uptown Theater in North Philadelphia.
To hear my mother tell it, folks rushed to church early on Sundays to avoid sitting in the balcony, which today is closed off as repairs on the nearly 100 year old venue, particularly its auditorium, continue.
Once a sanctuary full of live music, theater and dancing, the auditorium today lacks its grandiose nature, as its once exquisite walls and stained glass windows have shattered and crumbled, and parts of the carpet are damp from leaks in the roof.
The once glamorous wall on the right side of the Uptown Theater has deteriorated significantly. Photo Credit: C. Norris – ©2015
The auditorium is in significantly worse shape since the last time I visited the Uptown Theater, which was in January of 2010, when Techbook Online, my news and event company, co-organized a MLK Service opportunity that attracted more than 40 young Philadelphians who cleaned off graffiti from the venue’s front wall; bagged up trash from the auditorium and its adjacent alleyway; and learned about the history that took place within the now raggedy walls.
The Uptown Theater, located at 2240 N. Broad Street, is the only major venue from the historic Chitlin Circuit – a network of theaters throughout the eastern, southern, and upper mid-west areas of the United States that were safe and acceptable for African Americans to perform in during segregation – that isn’t open for audiences to enjoy today.
The other venues, the Howard Theater in Washington D.C., the Apollo Theater in New York City and the Fox Theater in Detroit, are not only open for shows, but they are, compared to Uptown’s current condition, flamboyant.
For at least two minutes today, I stood in the exact place where, 22 years ago, I played the drums for the very first time after a church service.
Towards the end of the Uptown Theater’s use as a church, a stage was built in the middle of the auditorium to accommodate a much smaller congregation. Photo Credit: C. Norris – ©2015
Each time I’m at the Uptown Theater – the first time since I was a young parishioner was in 2003 when I was doing research for my Senior Project, which was the catalyst for the formation of the Education division at the Uptown Entertainment Development Corporation, the current owners of the venue – I reminisce of the my version of the good ole days, which was the early 90’s.
But as expected with a venue packed with so much history, almost every Philadelphian has a good ole day story that they could share about the Uptown Theater.
City Council President, Mr. Darrell Clarke, whose Councilmanic District includes the land where the Uptown Theater barely stands today, shared his good ole day moment with me yesterday as I was wrapping up a press conference outside City Hall.
“That was the place to be,” he said, several times smiling, before informing me that the last performer he watched there was Ms. Phyllis Hyman, who was born in Philly.
Another Philadelphian whose memories of the treasured entertainment venue elicited smiles was Mr. Sonny Driver, Publisher, Scoop USA.
Mr. Sonny Driver’s publication, Scoop USA, was the first choice when promoters were looking to advertise a show. Photo Credit: C. Norris – ©2015
Back in the day, when the Uptown Theater was opening its doors to Motown’s hottest acts, Mr. Driver’s publication is where the venues’ bookers communicated with their target audience.
“The Uptown Theater was my one of my biggest advertising clients,” he tells Techbook Online exclusively, as we stood under the blank marquee, which will soon be filled, ironically, with advertisements.
Mr. Driver, too, described the building as a safe space for black performers, and said the talent attracted a majority black audience,despite a City full of Whites who also enjoyed Black music.
One of the names most associated with the Uptown’s good ole day is the late WDAS Disc Jockey, Mr. Georgie Woods, who was also a prominent activist.
Mr. Driver recalls a day where Cecil B. Moore called for Mr. Woods, who was just wrapping up a show at the Uptown Theater, to help calm a rioting crowd on Columbia Avenue that was responding to an allegation of police brutality.
The Uptown Theater, as many historians have noted, was a place known for good music and progressive activism.
Tune into www.TheDrVibeShow.com this Saturday at 1pm EST to hear black male thought-leaders discuss “Black Music and its Impact on Black Leaders.”
The backstage areas isn’t just where stars hung out, it was sacred ground for grassroots activists, like Mr. Woods and Mr. Moore, to plan movements.
The Uptown Theater, measured against its contemporaries when used as a black music venue, had a far greater impact on black leaders and the movements they cared about.
It has been said by many historians that Reverend Leon Sullivan, an activist who founded OIC of America, met with Martin Luther King, Jr., backstage at the Uptown Theater to discuss the selective patronage campaign.
The Uptown Theater does have a place in the local market, suggested Councilman Clarke, but not if it’s thought of simply as a vehicle for nostalgia.
Ms. Linda Richardson, Executive Director, UEDC, identifies the role of the Uptown Theater in modern society as a place for 21st Century entertainment and emerging entertainers.
Ms. Linda Richardson, who be interviewed on The Dr. Vibe Show this Saturday about Black music and its impact on Black leaders, stands outside the Uptown Theater, which will be open for public tours on June 27th. Photo Credit: C. Norris – ©2015
From mini multi-media centers and rooms to explore S.T.E.M, to a professional performance space for artists and a museum which tributes the past, Ms. Richardson believes a renovated Uptown Theater will usher in a “new era of entertainment,” for Philadelphia at least.
“With a seating of 2,100, it’s the perfect mid-size space for those who want to move up from community theater,” said Ms. Richardson, who added “the political response from the City must be to support the theater and help build the market.”
Rashaun “DJ Reezey®” Williams, a 21 year-old activist and Disc Jockey, is the type of youthful talent the UEDC hopes will one day perform on the Uptown Theater stage. Photo Credit: C. Norris – ©2015
Sadly, Ms. Richardson hasn’t gotten the support she needed from the Nutter Administration.
“I thought we’d be further along,” she said.
Ms. Richardson is hoping the next Administration, which presumably will be led by former City Councilman, Mr. Jim Kenney, will offer the type of support displayed by Mr. Nutter’s predecessor.
“There’s no African-American owned theater with the seating capacity of the Uptown Theater,” said Ms. Richardson, pointing to one of many unique value propositions that the venue presents the marketplace.
The history of the Uptown Theater will be celebrated this Friday, June 19th, 2015, at the television station of CBS 3. Among the honorees are Ms. Patti Labelle, Mr. Kenny Gamble and Mr. Leon Huff.
“If you made it at the Uptown, you made it to the Apollo and worldwide fame,” Ms. Richardson said.
In the case of Philadelphia’s Uptown Theater, many, including myself, are hoping that history repeats itself.
*Tune into 900amWURD or 900amWURD.com every Friday evening during the 6 o’clock hour to hear me relive #TheWeekThatWas*
Thanks for reading. Until next time, I’m Flood the Drummer® & I’m Drumming for JUSTICE!™
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Photo: The stage at the Uptown Theater in North Philadelphia. C. Norris – ©2015