Latest news with #ApolloTheater
USA Today
01-08-2025
- Entertainment
- USA Today
The Apollo Theater, called a 'shrine to Black artistic genius' awarded preservation grant
The preservation grants are significant for the money, 'but also as a recognition of the ongoing efforts to preserve history and culture.' WASHINGTON ‒ The legendary Apollo Theater in Harlem, which has long been the stage for some of the nation's top Black artists, will restore its signature marquee, thanks in part to a recent grant. Two dozen other historic landmarks of Black America, including theaters, museums and cemeteries, will also receive $50,000 to $150,000 each for preservation and restoration projects. The nearly $3 million in grants were announced recently by the African American Cultural Heritage Action Fund, a program of the National Trust for Historic Preservation, a private nonprofit. More: 'It's an answered prayer': Historic Black churches get grants for needed repairs The money is particularly significant, not just for the dollars it provides, 'but also as a recognition of the ongoing efforts to preserve history and culture," said Michelle Ebanks, the Apollo's president and CEO. 'Black historic places often face underfunding or lack of visibility, making it all the more critical to protect and celebrate them." Funding for such projects has become harder to come by in recent months, historians and community activists have said, as the Trump administration and others push to scale back the teaching of some Black history. 'As institutions divest from their responsibility, we remain committed to this never-ending work of telling the full history,'' said Brent Leggs, executive director of the fund and senior vice president of the National Trust. The action fund aims to help preserve places of American significance like the Apollo, which was honored by the Kennedy Center in 2024. 'The Apollo Theater is more than a stage. It's a shrine to Black artistic genius," Leggs said. 'For over a century it has launched icons and shaped culture and now with our help, it's undergoing a comprehensive restoration to ensure this historic venue thrives for another 100 years of creative brilliance.' Black theaters are anchors in communities The Apollo, which has a long history on 125th Street in Harlem and has showcased stars like Aretha Franklin, Ella Fitzgerald, Michael Jackson and Usher, is undergoing a $65 million renovation. Beyond restoring the marquee, the action fund's $100,000 grant will help expand the lobby and improve the sound system, HVAC and lighting. It will also be used to modernize the café and retail space. More: Black churches, home for prayer and politics alike, get major preservation funds 'Our goal is to stay true to the building's original character while introducing modern upgrades that reflect the needs of today's artists and audiences," Ebanks said. It's the theater's first full-scale renovation, which is slated to be completed in the fall of 2026. Meanwhile, performances will continue at the new Apollo Stages at the Victoria Theater, a few doors away. 'We're excited that our audiences won't miss a beat," Ebanks said. Theaters have often been anchors in Black communities, Leggs said. The Jewel Theater in Oklahoma City was also awarded a $100,000 grant to restore its exterior. The theater, which has been vacant for decades, served the city's Black community when most other venues were segregated, said Leggs. 'There's a sense of urgency to ensure that we don't lose this heritage site," he said. 'Telling the stories of resilience' Since 2018, the fund has awarded $45 million for 380 projects nationwide. Over the years, the fund has also awarded preservation grants to historic Black churches, recently giving $1 million to the Clayborn Temple Church in Memphis. The historic church, which was a key site in the Civil Rights Movement, was severely damaged by fire April 28. More: 'This is our history:' African American churches, museums and landmarks work to preserve Black history Under the first Descendant and Family Stewardship Initiative in July, grants were given to organizations like the Muddy Waters Mojo Museum in Chicago and the Clemmons Family Farm in Charlotte, Vermont. The grants help descendants and family-led organizations run their sites. Sites awarded grants under the Conserving Black Modernism effort include McKenzie Hall at the University of Oregon and the administration building at the Interdenominational Theological Center in Atlanta. The program aims to preserve the work of African American architects and designers. Ebanks said it's important to continue to fund such efforts. "These institutions are vital for telling the stories of resilience, innovation, and artistry that have shaped our nation,' she said.
Yahoo
11-07-2025
- Entertainment
- Yahoo
Daryl Hall and John Oates Look Back on Playing With Mick Jagger at Live Aid: ‘It Was Shocking, To Be Honest'
Live Aid boasted plenty of participants who could be considered MVPs – particularly organizer and driving force Bob Geldof. But for a primetime chunk in Philadelphia on June 13, 1985, Daryl Hall & John Oates held that distinction. The two — who met in the City of Brotherly Love in 1967 and began working together three years later — rolled on stage at about 9:50 p.m. at John F. Kennedy Stadium, starting with their Billboard Hot 100 toppers 'Out of Touch' and 'Maneater.' They also brought out former Temptations members Eddie Kendricks and David Ruffin to recreate part of their then-recent Apollo Theater medley of the group's 'Get Ready,' 'Ain't Too Proud To Beg,' 'The Way You Do the Things You Do' and 'My Girl' — complete with some of the Motown group's trademark dance steps. More from Billboard 'Pride & Prejudice' Film Soundtrack Bewitches the Charts With 20th-Anniversary Vinyl Reissue Fred again.. Releases 'Victory Lap' Remix Featuring Denzel Curry Jadakiss Reacts to Drake's 'What Did I Miss?': 'They Flip on You ... That's the Game We In' But wait, there was more. The augmented Hall & Oates crew stayed on stage to back up Mick Jagger, performing sans Rolling Stones, on his solo tracks 'Lonely at the Top' and 'Just Another Night' as well as the Stones' 'Miss You.' Then a high-heeled Tina Turner joined the proceedings, taking Michael Jackson's place on 'State of Shock' (a Jagger duet from the Jacksons' Victory album) and a show-stealing 'It's Only Rock 'n Roll (But I Like It),' during which Jagger, who'd changed outfits mid-song, memorably ripped off Turner's leather mini-skirt. 'I felt the significance of it, that's the best way to put it,' Hall recently told Billboard. 'It was one of those moments where we knew something significant was happening.' 'At the time we were at the top of our game in the world of pop,' says Oates, speaking separately to Billboard. 'And it was Philadelphia, so it made sense for us to be there. The vibe was great and the energy was just insane. It was something I'll never forget.' Neither Hall nor Oates remember specifically how their Live Aid booking came about; both say it came through the duo's then-manager Tommy Mottola. And because they had performed with Ruffin and Kendricks at the Apollo less than two months before (the Live at the Apollo album came out September 1985), it seemed appropriate to have them be part of Live Aid as well. Backing Jagger came somewhat out of the blue, however. 'Mick had done a solo album (She's the Boss) at the time and didn't really have a backing band,' Oates recalls. Hall & Oates' guitarist G.E. Smith had played guitar on one of the album's tracks, 'Secrets,' which helped connect the two acts. 'This really wasn't initiated by me at all,' Hall says. 'I was just a soldier in the army and other people were saying, 'Mick wants to do this. You're gonna do this with him and Tina's involved and you guys bring out David and Eddie…' It was all sort of planned out, and I just said, 'Sure, sure, sure.'' Rehearsals with Jagger at SIR Studios in Manhattan were as memorable as the show itself for Oates. 'We had prepared the songs and gone over them and had them pretty well down 'cause, of course, our '80s band was so frickin' good,' Oates remembers. 'We were on stage playing, doing whatever we were doing, and Mick comes into the room and basically jumps on stage, just a 'you guys ready?' kind of thing and he said 'Let's go!' and called out a song. We counted it off and he went into the song as if he was playing a giant stadium. He did the whole thing — the chicken wings, prancing around the front of the stage, full-on. It wasn't like we were in a rehearsal studios just playing the songs; he actual performed it, treated it like it was a full-out performance in front of no one except us. It was shocking, to be honest with you, but it was so frickin' exciting.' Hall adds that Jagger was 'nervous' about the performance, which was his most high-profile away from the Stones at that point. 'He asked me afterwards, 'How did we do? How did I do?' It was that kind of thing,' Hall says. 'That was interesting, 'cause I see these things from the inside pretty much. Once we got on stage we were just a machine.' Both Hall & Oates have fond memories of the hang at the stadium that day. 'Considering what we were there for, which was starving people in Africa, it was a joyous event,' Hall says. 'I would just keep bumping into people and meeting people. Everybody was smiling and shaking hands. It was a really friendly event considering it was the top of the world's artists at the time. And 'cause we were at the end of the show I got to see everybody as they were performing, one after the other after the other. It was really the ultimate experience to watch as well as participate in.' Oates had also arrived early in the day to soak in the atmosphere and enjoyed the camaraderie backstage. 'Everyone who was done in their trailer, dressing room or wasn't performing was basically just hanging around. Everybody was nice and pumped. Jack Nicholson, who was a buddy, was there emceeing. It was cool to be in a casual environment, with people all around.' Oates doesn't remember much about the night's shambolic 'We Are the World' finale. 'I probably blew out my energy during our set and just kind of went through the motions for the encore,' he says. Hall recalls that 'everybody was rushing the stage, trying to get in front so people would notice them. (Laughs) I'm not saying that in a bad way; everybody was just kind of feeling good and doing it. It was a lot of adrenaline and energy flying around.' Promoter Larry Magid, whose Philadelphia-based Electric Factory Concerts firm produced the U.S. show in conjunction with the late Bill Graham, says it was a point of personal pride to have native acts such as Hall & Oates on the bill. 'It just worked out to have those acts on,' he remembers. 'Hall & Oates with Eddie Kendricks and David Ruffin; both of them were living in Philadelphia at the time. I liked that. I liked Patti LaBelle being from Philadelphia. The Teddy Pendergrass thing [his first performance since a 1982 car crash left him paralyzed from the chest down] was overwhelming, very emotional. And the opening act, the Hooters, was a hot new act from Philadelphia at the time and I was so happy we were able to showcase them.' Hall acknowledges that having the Stateside portion of Live Aid in Philadelphia (a simultaneous concert took place in London) did make it more resonant. 'I felt a little bit of pride in that,' Hall says. 'I was glad Philadelphia was the place.' Hall & Oates, of course, formally ceased working together in 2024 after 18 studio albums and 16 top 10 singles on the Billboard Hot 100. Hall is still touring on the heels of his 2024 solo album, D, while Oates is on the road and will release his new album, Oates, on Aug. 29. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Time Out
02-07-2025
- Entertainment
- Time Out
Harlem's historic Apollo Theater is closing for a year for its $65 million makeover
The show's on pause, but the legacy is getting a serious glow-up. Harlem's iconic Apollo Theater officially closed its doors on July 1 for a $65 million, yearlong renovation—the most ambitious in its 91-year history. The lights on the famous marquee may be dimmed, but the vision for the future is anything but. Opened in 1914 and rebranded in 1934, the Apollo became a cornerstone of Black American culture, launching the careers of artists such as Ella Fitzgerald and Lauryn Hill. Now, the 1,500-seat landmark is undergoing a comprehensive facelift, featuring a restored façade, upgraded LED marquee, expanded lobby, new seating and modern AV systems. Crucially, historic elements, such as the performer-signed 'signature wall,' will be preserved. 'It is the first large‑scale renovation of the historic theater in our 91‑year history,' Joy Profet, the Apollo's chief growth officer, told NY1. While work on the lobby began earlier this year, 'July 1 is really the full-scale.' The final in-house show before the closure was last Wednesday's grand finale of Amateur Night at the Apollo. Neverson Cadesca, performing under the name Nev, closed out the night. The $20,000 prize went to saxophonist Emanuel Garilus from Gainesville, Florida. While the main auditorium is shuttered, performances will temporarily relocate to the Apollo Stages at the Victoria, just down 125th Street. That complex includes two smaller theaters, part of the Apollo's ongoing expansion. Scaffolding is already up along the 125th Street exterior and temporary guest access is now rerouted through a covered entrance on 126th Street. A pop-up box office under the marquee is now serving guests. According to architects Beyer Blinder Belle, the renovation aims to make the Apollo feel more open and community-connected. A café and new street-facing windows will anchor the expanded lobby and the Wall of Fame is going digital. Work is expected to wrap by mid-2026. Until then, Amateur Night is on hold, but the Apollo's spirit is just down the block—still shaking things up, still center stage.
New York Times
01-07-2025
- Entertainment
- New York Times
The Apollo Theater's Home, 108 Years Old, Gets a Refresh
Good morning. It's Tuesday. Today we'll get details on a $65 million renovation of the Apollo Theater in Harlem. We'll also find out why public defenders from the Legal Aid Society are threatening to strike. Neverson Cadesca, a singer who performs under the name Nev, figures in a footnote about the storied Apollo Theater in Harlem. He was the last performer at the last Amateur Night before the Apollo closed for a $65 million renovation. It won't reopen until sometime next year. How did his set go? 'Performing-wise, I felt really good,' he said later. He wasn't booed off the stage by a crowd that was as raucous as Amateur Night crowds always are. But he didn't win, either. The $20,000 prize went to Emanuel Garilus, a saxophonist from Gainesville, Fla. Even Cadesca was impressed. 'I want to play with that guy,' he said. 'Be good or be gone' has long been the slogan of Amateur Night, the competition that propelled careers long before 'American Idol' came along. It started in 1934 and eventually gave rise to the television program 'Showtime at the Apollo.' Over the years Ella Fitzgerald, the Jackson Five, James Brown and Stevie Wonder all survived Amateur Night. So did Luther Vandross, although he was booed off a couple of times before he won. But now Amateur Night itself will be gone — except perhaps for a special or two — while the Apollo is reconfiguring seats, removing a wall or two and repainting nearly everything. Want all of The Times? Subscribe.
The National
23-06-2025
- Politics
- The National
When a young candidate for New York mayor refuses to take a pro-Israel line
The Democratic mayoral primary in New York City on Tuesday is bound to garner eyeballs in the coming days and weeks. One reason why the results will be interesting is for the outsize role New York plays in American life. New York is home of some of America's defining cultural symbols: the Statue of Liberty, the Empire State Building, the World Trade Centre, Times Square, Broadway, and Harlem's Apollo Theater. It's also the country's most populous and demographically complex city, with its five unique boroughs that surprisingly co-exist in the same political entity. The City is also beset by many of the challenges confronting America, writ large: crime, housing, drugs, immigration, racial and ethnic tensions, problems with policing, gentrification, the high cost of living and political polarisation. And yet, New York remains a magnet, drawing hundreds of thousands of new immigrants from all over the world and young people from across the US to settle there, attracted by its allure and its promise of opportunity. With all of New York's complexity and problems, it's a wonder that any politician would want to take on the Herculean task of governing it. And yet, here we are, at New York's primary elections with nine major candidates vying to be the Democratic Party's nominee to compete in November's general election. It's notable that despite Cuomo and establishment Jewish organisations making a big issue of Mamdani's refusal to take a solidly pro-Israel line, he is running closer than expected to Cuomo in the competition for the Jewish vote The multiple layers of subtext that define this contest make it even more compelling. Of the nine major Democrats in the race for their party's nomination, one is a former governor, two are city-wide elected officials, one is a former city-wide official, and four are elected state legislators. At this point, the two leaders are former Governor Andrew Cuomo and State Representative Zohran Mamdani. Mr Cuomo, age 67, served 10 years as governor until he was forced to resign under a cloud of charges ranging from the vindictive way he dealt with staff and other officials, to corruption, mishandling of the Covid-19 pandemic in nursing homes, and most significantly, credible charges of sexual harassment by a dozen women. Mr Cuomo has the endorsement of much of the state's Democratic establishment and the financial support of billionaire-funded political action committees that are spending millions on his behalf. He is running a campaign focused on his experience – a double-edged sword – and emphasising his centrist approach to politics, which in this polarised political environment is attractive to some New Yorkers and divisive to others. Mr Cuomo's major opponent, Mr Mamdani is a 33-year-old who has been in the state legislature for a scant four years. Despite his youth and inexperience, his progressive agenda and charismatic style have catapulted him into a near-tie for the lead. Mr Mamdani is running with the endorsement of the Democratic Socialists of America and other left-leaning organisations in New York. His grassroots-led campaign has made him a leader in individual donations and provided his effort with a record number of volunteers. Both come from markedly different yet prominent family backgrounds. Mr Cuomo is the son of former Governor Mario Cuomo, a revered figure in the Italian American community. Before running for governor, he served as his father's chief of staff and 'fixer'. Mr Cuomo later served as former US President Bill Clinton's Secretary of Housing and Urban Development. Mr Mamdani is a Ugandan-born Muslim of Indian descent, who also has prominent parents. His father Mahmood is a world-renowned progressive intellectual and professor at Columbia University. His mother, Mira Nair, is an award-winning filmmaker. Mr Mamdani came to the US with his parents at the age of seven and became a US citizen in 2018. He was a student activist and after graduating was active in a number of progressive causes and campaigns. Because of his history of activism and compelling personality, some have compared his meteoric rise to that of Barack Obama. Last week, different polls showed Mr Cuomo up by 10 or by four, and another putting Mr Mamdani up by two. Beyond the horse race, the polls also tell another story – one that puts in stark relief some of the divisions plaguing today's Democratic Party. Mr Cuomo leads decisively among voters who are Black, Catholic or Protestant, non-college educated, and those holding moderate or conservative views, poorer, and older. While Mr Mamdani leads or is tied with Mr Cuomo among White, Latino, college-educated, wealthier, liberal and younger voters, Mr Mamdani leads among one of the largest groups of New York Democrats: those who have no religious affiliation. It's also notable that despite Mr Cuomo and establishment Jewish organisations making a big issue of Mr Mamdani's refusal to take a solidly pro-Israel line, he is running closer than expected to Mr Cuomo in the competition for the Jewish vote – which may get even closer as the candidate in third place, Brian Lander, who is Jewish and also critical of Israel, has 'cross-endorsed' Mr Mamdani in the primary contest. The polls lay bare the same problems Democrats have on the national level, the divisions that exist among the various component groups that have made up their coalition: young versus old, white versus non-white, religious versus non-religious, wealthier college-educated versus working class. As this election features what is called 'ranked-choice voting' – in which voters pick their top five candidates in order and then votes are tallied, weighted by preference – it is still too close to call. A prelude to November's race, the Democratic nominee will face New York's current mayor, Eric Adams, who is running as an independent candidate, and may also include the runner-up from the primary, as both Mr Cuomo or Mr Mamdani could run on a third-party slate. It's the final layer in a fascinating contest.
