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WASHINGTON — A new National Park Service report backs President Trump’s proposed arch, despite what it says are adverse effects to the sightline between a host of landmarks in Washington, including the Washington Monument and Lincoln and Jefferson memorials.

The report released Friday says the 250-foot-tall arch is likely to disrupt the historically significant layout of dozens of sites near its planned location adjacent to Memorial Bridge.

Many of Washington’s monuments, buildings and sites have been carefully planned over decades to reflect significant moments in the nation’s history and to evoke symbolism through sightlines that connect them to other sites. The arch will disturb the sightline between more landmarks than anticipated, the report said.

But the Park Service report says “the same characteristics that make Memorial Circle sensitive from a preservation perspective are also the characteristics that make it the historically appropriate location for the undertaking.”

The project’s effects cannot be “fully avoided without either relocating the Arch away from the historically identified site or eliminating the principal commemorative feature, both of which would fail to meet the undertaking’s purpose and need,” the report said.

“For this reason, alternative locations outside Memorial Circle are not reasonable avoidance alternatives,” the report said.

The 133-page report by the Park Service supports Trump’s plans for the controversial arch and could play an important role in bolstering the administration’s case in its fight against a legal challenge filed by three veterans and a group of historians.

The proposed towering arch, which last month received initial approval from a key federal commission, would impact the “integrity” of dozens of historic properties because it would change “character-defining visual and spatial relationships” between them.

One of the most obvious elements the report cited is that the arch would break alignment between the Lincoln Memorial, Memorial Bridge and Arlington House that was formerly Confederate Gen. Robert E. Lee’s home. That alignment was “intended to physically and symbolically unite North and South through a coordinated monumental composition extending across the Potomac River,” the report said.

The Lincoln Memorial Arlington House connection was one of dozens of historic sites and structures listed as being impacted directly by the proposed structure. It added that the National Mall, the U.S. Capitol, Washington Monument, Jefferson Memorial, Georgetown Historic District, Old Naval Observatory, Key Bridge, National Cathedral and other sites also would be affected.

Nicolas Sansone, an attorney with Public Citizen Litigation Group representing the plaintiffs, said the report again “confirms what we’ve been saying all along: the project will have an enormous impact and transform that National Mall.”

The report underscores the legal challengers’ claim that a project of this size and importance “is a decision for Congress to make” and should not be rushed through by executive decree, Sansone said.

Daly writes for the Associated Press.

In a nondescript black building in downtown L.A.’s Arts District, rich sounds of sax and bass filled the air for hours. Inside, surrounded by the paintings and posters of iconic musicians, albums and films, dozens of people gathered for a night designed to prove a simple point: You can’t “cancel” jazz.

On Thursday night, eight jazz artists and groups performed a pop-up show, including Okay Coleman!, the Don Brown Collective, Joy Guerilla, and Genghis Don, who also organized the event. All of these artists had one thing in common: They were billed to perform on the now-canceled inaugural L.A. Jazz Festival.

The planned 17-day event was supposed to kick off on Aug. 7 and feature dozens of performances spread throughout every City Council district. Organizers hoped the shows would draw 250,000 attendees and inaugurate the city as a home for jazz events on par with New Orleans and Montreal. The festival was to include a final show headlined by Janelle Monáe, John Legend, Charlie Wilson, Parliament Funkadelic and Raphael Saadiq at Dockweiler State Beach.

“When I got booked for it, I was really excited,” Genghis Don said. “It was one of the bigger festivals I’ve done so far in my career.”

Glen Turner of Joy Guerilla performs at the “Can’t Cancel Jazz” event Thursday.

(Brian Feinzimer / For The Times)

Then, the festival was abruptly canceled due to “last-minute public safety and municipal costs.”

But Don was determined for the show to go on. He partnered with Tída Norasingh of JIJI’s Jazz Club to host the “Can’t Cancel Jazz” pop-up show at Slow Jamz Gallery — a musical experience that was curated in less than 72 hours, according to Don.

“It all came together thanks to so many people who were involved in this,” Don said. “I really couldn’t have done any of this without them.”

The crowd, which leaned younger in part because the event allowed attendees 18 and older, trickled in around 7 p.m., and by 9 p.m., the party was in full swing. It was easy to see how audience members connected with the music by the way they cheered, danced and sang along through the night.

The pop-up show struck a balance between creating an accessible, music-forward environment for fans and providing support for the musicians who had been affected by the cancellation. The event’s entry fee was $20, while the nonalcoholic bar accepted additional donations. Some artists also had merch available for sale on site.

While “Can’t Cancel Jazz” may have been a response to the L.A. Jazz Festival being called off, it wasn’t aiming to replace it. Instead, the pop-up offered something more intimate. At times, the music overtook the gallery, completely captivating the attention of the room. At other moments, conversation and connection were happening right outside on the balcony between attendees, some of whom were meeting each other for the first time.

The result was something distinctly authentic with an underground quality that would have been hard to replicate at a sprawling, weeks-long festival.

“This was more so a test of L.A.’s community,” Don said. “They showed out, people came, the artists came together, and you know that’s the true definition of community.”