Latest news with #HarlemRenaissance
New York Times
a day ago
- Politics
- New York Times
Lloyd Williams, Who Helped Spur Harlem's Revival, Dies at 80
Lloyd Williams, who rallied the business community and united commerce with culture to promote a modern Harlem Renaissance, died on Wednesday in Manhattan. He was 80. His death, in a hospital, was caused by prostate cancer, his son, Lateef Adé Williams, said. Mr. Williams was among the last surviving members of Harlem's Old Guard, which was led by four Democratic elected officials: Representative Charles B. Rangel, Mayor David N. Dinkins, Manhattan Borough President Percy E. Sutton and Basil A. Paterson, who served as a state senator, a deputy mayor and New York's secretary of state. Mr. Williams's only public office was the chairmanship of the community board that encompassed Harlem. But for more than half a century, he held sway as a civic leader from his base in a venerable business organization — the Greater Harlem Chamber of Commerce — that spurred residential and commercial development, tourism, and pride in the neighborhood's history and potential as it hurdled the social unrest, declining health and housing abandonment that accelerated in the tumultuous 1960s. In 1970, Mr. Williams was recruited by Hope Stevens, president of what was known until 1993 as the Uptown Chamber of Commerce, to serve as its first Black vice president of programs. He was promoted to executive vice president under Lloyd E. Dickens in 1976. When Mr. Dickens died in 1988, Mr. Williams succeeded him as chief executive and president, a post he held for the rest of his life. He was credited as a founder and architect of Harlem Week, a festival that was begun in 1974 as Harlem Day by Mr. Sutton, as a one-time event to help counter the neighborhood's social and economic decline. It was expanded to a week the next year. Want all of The Times? Subscribe.
New York Post
2 days ago
- Politics
- New York Post
Gov. Hochul renames Central Park subway station after civil rights revolutionary Malcolm X
New York Gov. Kathy Hochul renamed a Central Park subway station after Malcolm X, the prominent civil rights leader who was a longtime Harlem resident, as part of the city's Harlem Week celebration. The legislation penned by Hochul will rename the 110 St-Central Park North subway station to 110 St-Malcolm X Plaza in honor of the slain revolutionary, who lived sporadically in the neighborhood between his late teens and the final decade of his life. 5 A Central Park subway station was renamed after Malcolm X on Sunday. Tomas Advertisement This year's celebration also marked the 100th anniversary of the Harlem Renaissance, the era following the Great Migration where 175,000 black residents moved to the neighborhood to escape the rampant racism and Jim Crow legislation plaguing the South. 'One of the best ways to celebrate the rich history and community of Harlem is to recognize the contributions of Malcolm X and the Harlem Renaissance to New York and to the world,' Hochul said. 'From the struggle for civil rights and equality to boundary-breaking cultural impacts of American icons like Zora Neale Hurston and Duke Ellington, Harlem has been at the center of progress in our nation for generations.' Advertisement 5 The renaming was part of Harlem Week. Tomas E. Gaston Malcolm X, a contested Black Nationalist leader up through his assassination in 1965, sought to strike a balance with Martin Luther King Jr.'s early pacifist approach and the raw violence people of color faced in America. Early in his civil rights advocacy, Malcolm X, originally born Malcolm Little before abandoning his 'slave name,' was a devout follower of Elijah Muhammad, a black separatist and second leader of the Nation of Islam, according to the African American Intellectual History Society. 5 Malcolm X was one of the most prominent leaders during the Civil Rights Movement. Andrew Schwartz / Advertisement Malcolm X's faith shaped much of his work, including his insistence on racial separation and his criticism of King's nonviolent approach. But in 1964, Malcolm X suddenly denounced separatism after a fateful pilgrimage to Mecca and falling out with Muhammad, citing a 'spiritual rebirth,' as reported by the New York Times at the time. King and Malcolm X were often perceived as having butted heads because of their opposing approaches, with Malcolm X largely lobbing most of the critiques during his public appearances. 5 Malcolm X lived in Harlem during his late teens and the final decade of his life. Tomas E. Gaston Advertisement The legends only met once while watching early Senate discussions of the Civil Rights Bill of 1964, mere months before Malcolm X's death. Malcolm X's stances were always malleable, even more so after his pilgrimage, and at the duo's single meeting, he apparently told King that he would be throwing himself 'into the heart of the civil rights struggle,' according to PBS. 5 Malcolm X was assassinated in Manhattan in 1965. Andrew Schwartz / 'People always talk about this big transformation. But when you look at him, he continually evolved. He continued to research, to learn, and to adopt his new knowledge in his work,' Malcolm X's daughter, Ilyasah Shabazz, told the Harvard Law Record in 2011. While Malcolm X was starting to solidify his reshaped approach, he was gunned down by two members of the Nation of Islam while he hosted a meeting for the Organization of Afro-American Unity in Manhattan. Other parts of Harlem already bear his name, including the Malcolm Shabazz Harlem Market and the Malcolm Shabazz Plaza.
Time Out
5 days ago
- Entertainment
- Time Out
Explore the Gay Harlem Renaissance in this new exhibit coming to The New York Historical
Many New Yorkers know about the Harlem Renaissance, but a new exhibit opening this fall explores a more unknown facet of the era—the Gay Harlem Renaissance. The New York Historical will host a new exhibit examining the Black LGBTQ+ artists, writers and performers vital to the Harlem Renaissance and everyday Black gay life in the early 20th century. "The Gay Harlem Renaissance," will open on October 10 and run until March 8, 2026. This unique exhibit traces queer creativity, friendship circles and mentorships that once flourished in Harlem's salons, social clubs and thriving nightlight. The show also highlights specific Harlem Renaissance poets, novelists and artists—many of whom were gay or bisexual. After the First World War, Black Southern and Caribbean migrants, activists and creatives transformed Harlem into a nexus of political activism, creative expression and community life. Many of Harlem's artists were gay or bisexual (some discreetly, some openly), and many singers and performers in nightclubs or speakeasies were lesbian, bisexual, or transmasculine. LGBTQ+ artists, on-stage and off, helped shape the culture and art of the era. Queer and straight artists were said to have formed close-knit circles, mentorships and collaborated on ideas that shaped Black art and culture. Black LGBTQ+ life was far more visible, accepted and integrated into the daily life of 1920s Harlem than most people imagine. "'The Gay Harlem Renaissance' shows that Black LGBTQ+ life was far more visible, accepted and integrated into the daily life of 1920s Harlem than most people imagine," George Chauncey, the exhibition's chief historian said in a press release. Featuring more than 200 objects, the exhibition includes painting, sculpture, artifacts, documents, photographs, books and music from collections across the country—all which celebrate the creativity, innovation and resilience of Black LGBTQ+ Harlemites while facing racist and homophobic pressures. Some highlights include "Employment of the Negro in Agriculture," a 1934 painting by Earle Richardson that honors the resilience of African American agricultural laborers within the oppression of the Jim Crow System; "Color," the 1925 first edition of Countee Cullen's first book of poetry, whose mentor Alain Locke helped Cullen accept his sexuality; and a Gelatin silver print of Gladys Bentley, a transmasculine performer who became a star in Harlem, famous for playing popular nightclubs and rent parties. "We hope that this show will invite visitors to consider how intimate friendships, chosen families and radical ideas about identity helped define the Harlem Renaissance and continue to resonate today," Dr. Louise Mirrer, president and CEO of The New York Historical said in a statement. The exhibition is curated by Allison Robinson, associate curator of history exhibitions and Anne Lessy, assistant curator of history exhibitions and academic engagement, with contributions from Rebecca Klassen, curator of material culture and decorate arts and chief historian
Express Tribune
16-07-2025
- Entertainment
- Express Tribune
Usher channels old-school New York cool in his new Ralph Lauren campaign
Usher is embracing a new creative era as the face of Ralph Lauren Fragrances' latest launch, Ralph's Club New York Eau de Parfum. Known for reinventing himself across music, fashion, and entertainment, the eight-time Grammy winner now steps into the world of scent, bringing his signature sophistication to the iconic brand. The fragrance, infused with lavender, bourbon, and sandalwood, is a nod to the golden age of New York and the smooth elegance of legends like Frank Sinatra. Inspired by the city's energy, Usher composed an original track for the campaign, reimagining Sinatra's classic 'New York, New York' with his own melodic twist. 'It was about creating something timeless, yet mine,' he told L'Officiel. Usher spoke of the city as more than a backdrop. 'New York is where I started. It shaped me,' he said, reflecting on the city's role in fashion, music, and culture. 'You can get lost in New York, and that's the beauty of it. You find yourself.' The campaign's visuals were crafted by top talent, including director Jacob Sutton and photographers Mert Alas & Marcus Piggott, alongside choreographer Tariq Patterson. The result is a dynamic short film blending the luxury of Studio 54-era nightlife with Harlem Renaissance flair and modern-day elegance. While the new song won't be released widely, Usher hints at its staying power. 'If people love it, who knows what might happen?' For Usher, the collaboration goes beyond celebrity branding, it's personal legacy. 'This project reflects who I've been and who I am now,' he said. 'To work with a house like Ralph Lauren, it's timeless. It means something.'
The Guardian
06-07-2025
- General
- The Guardian
Who preserves the homes of Black literary giants
Nothing could prepare me for seeing the house that Langston Hughes, the heralded Harlem Renaissance poet, author, journalist and traveler, lived in as a teenager in Cleveland, Ohio. Only eight steps separated me from the walkway that led to the front door as my Uber driver idled behind me. I clasped my camera in my hand, the shutter echoing in the quiet of a snowy February day. I looked more like a too-curious-tourist than a concerned writer researching the literary legacy of a man who had inspired me all my life. The house was ordinary, painted in an aging beige that was deepened with crisp, burgundy accents. At the top in an attic space the burgundy was most prominent. I'd learned before this visit that Hughes had lived and written there. I'd also known going into this trip that the house had at one point been at risk of being demolished, efforts that were subverted largely in part due to local librarian Christopher Bucka-Peck's intervention. Located on the east side of Cleveland in an area that has been historically Black for generations, this home, which is crucial to understanding Langston Hughes and his creative origins, remains unmarked and vacant as it was then. The longer I stood, instead of soaking up the moment in awe, unending questions tugged at me. Such as: why was there no marker? Would it be in danger of possibly being demolished again? And if the city of Cleveland didn't care about his legacy then who would? That trip in 2023, and the crushing disappointment that encircled it, became a silent quest I've carried with me. I wanted to see more homes of the Black literary forefathers and foremothers, the ones I draw inspiration from in order to write. The anger and discontent are something Tara L Conley, an assistant professor at Kent State University's School of Media and Journalism, felt herself in 2019 when she visited Toni Morrison's childhood home in Lorain, Ohio, a mere 30 miles from where I landed in Cleveland four years later. Morrison's powder blue home also has no marker and continues to fall further and further into a dilapidated state. 'My initial reaction was, 'Why isn't anyone doing anything here?' Even to this day I wonder why Northeast Ohio feels so stuck. And if you talk to other Black folks who grew up here you might hear the same thing,' Conley said. Morrison's home, according to Conley during her visit, is privately owned, as demonstrated by Donald Trump signs she saw surrounding the property. As of now, there are no efforts for a historical marker or any other kind of preservation of the home. Hughes' home in Cleveland has endured many changes throughout the years beyond the planned demolition in 2009 – including a renovation before being sold for $85,000 to a private owner in 2013. Being privately owned means the hurdles for historical markers or any other designation of its status fall into the owner's hands, if they choose to pursue it at all. These homes, however, represent a much larger pattern of neglect of integral legacies of Black writers, even after their deaths. The statistics on preservation of African American historical structures reflect this. Only 2% of the 95,000 entries on the National Register of Historic Places focus on the lives, experience and culture of African Americans. That means there's larger systemic failings and inequities to be addressed for cases like Hughes' and Morrison's homes in Ohio, despite the issue of their current ownership. And the countless other homes of Black literary figures throughout history, those who have held us together and dazzled us in written form on the page. These legacies matter and have personal and collective stakes. What is preserved, after all, molds what we remember and what is known about Black writers of the past. Our Black creative memory, too, is sculpted from these things. Preserving spaces such as historic Black literary homes from an official capacity entails certain complexities–completing extensive paperwork, securing funding, time spent waiting to hear back once nominations have been submitted. The process has prevailed in some cases, such as Richard Wright's childhood home, Lucille Clifton's and where Zora Neale Hurston lived in the years prior her death. Some of the homes of Black authors of the past have some sort of historical marker, whether as a result of being designated a national historic landmark, included on the National Register of Historic Places or local recognition whether from the state or town/city municipality of which they are located. National historic landmarks (NHS) and the National Register of Historic Places are both guarded by the National Park Service (NPS). Established in 1935 due to the National Historic Sites Act, an NHS designation requires a nomination and evaluation of the property. The NPS advisory board reviews nominations and determines whether to recommend it to the secretary of interior, who has the power to name landmarks. Getting a historic home or other property on the National Register of Historic Places is simpler. The National Register was established in 1966 per the National Historic Preservation Act and also requires prepared nominations that next proceed through the state's historic preservation office. The state historic preservation officer can then officially nominate a property, kicking it up to the NPS where the keeper of the National Register, who has the authority to list the property. In urgent response to the dire statistic, the National Trust for Preservation launched the Cultural Heritage Action Fund in 2017. Helmed by architect and preservationist Brent Leggs, who acts as executive director, the aim was to intensely focus on gathering these Black touchstones and treating them as precious. 'What's so beautiful about the African-American Cultural Heritage Action Fund–as we're eight years in as an emerging social movement advocating for an increased recognition and celebration of Black people and Black history–is that we're creating a big tent of advocates,' he said. Leggs was instrumental in helping to preserve the homes of other Black cultural legends – Nina Simone and Alice and John Coltrane – as both have designation and have been preserved through varied mechanisms. Simone's childhood home in Tryon, North Carolina is bounded by non-profit Daydream Therapy, a collective of artists Ellen Gallagher, Rashid Johnson, Julie Mehretu and Adam Pendleton who bought the home together for $95,000 to save it. When the fund originally launched in 2017, a five year $25m campaign began an 'audacious and bold vision' according to Leggs. The intent, he said, is to intentionally partner in what is longterm work of expanding the African-American story by preserving spaces and homes like those of Black writers of the past–to offer these lived spaces as testimonies of the reality of Black lives lived. As of now, $150m in funding has been secured and the organization has collaborated with 353 preservation organizations across the country to make it happen. Historical markers, whether national or local, are purely an architectural designation – what the owners of the home choose to do with the property is at their discretion. There is no mandate, for instance, that historic homes be opened to the public, though some Black literary homes have taken that pathway in service of writers of new generations. Overall, the paths are varied. The novelist Richard Wright's childhood home in the historically Black Woodlawn historic district of Natchez, Mississippi, has had a historical marker since 1998. This marker is local, however, as the Mississippi department of archives and history erected it. Wright's home is solely a historic structure as it's not open to visitors, though visitors can take pictures and peek in from the outside. The historic East Harlem brownstone that Hughes called home during the Harlem Renaissance is another that falls in this category. Now privately owned, it has had a marker since 1981 per the New York Landmarks Preservation Foundation. Hughes' former Harlem home has struggled with directional instability throughout the years, with current managing director Louie P Sosa committed to ushering forth a new era for the home, centered in structured programming and establishing a non-profit organization to guide its future. 'The goal of the Langston Hughes Home is to exude Langston's personality and all its facets,' he said. In Baltimore, Maryland is the Clifton House, a tribute to the legacy of poet Lucille Clifton who lived there with her husband Fred Clifton and her six children. When foreclosure in 1980 forced them from their home, it was traumatic. But when her daughter Sidney Clifton reached out to former owners on the ninth anniversary of her mother's death in 2019, she learned the house had been put on the market that very day. She purchased the home, intent on recapturing the communal space she remembered. 'What this house always wanted to be was what my parents established there and it's what it means to be there,' she said. 'The house needs to be that place where we are focusing on providing sanctuary for emerging writers, poets, artists, activists and people that walk those intersections. And to be a place of nurture, feeding, spirit, growing and possibility.' As the home is already considered a national historic landmark and appears on the National Register of Historic Places, the most challenging aspect of preserving the legacy, according to Sidney, has been managing the business side. Though the non-profit organization that guides the home–including that of writing workshops and residencies–does make it somewhat less challenging. And down south in Fort Pierce, Florida, the Agape senior recreation center where the novelist, anthropologist and folklorist Zora Neale Hurston died from a stroke in 1960 has no designation whatsoever, though a home she rented in the years prior to her death received national historic landmark status in 1991. The Zora Neale Hurston Florida education foundation acquired the building where Hurston died from St Lucie county in 2019. They've made significant strides in renovating to turn it into a community center and museum–they received a $500,000 African-American cultural and historical grant from the Florida department of state to actualize these needed changes. Marina Santos, vice-president of the organization's board, said hopes are that renovations for the building will be completed no later than this summer. 'Currently we're about 50 percent completed on the renovations on the inside,' she said. 'Our vision and mission is not only to preserve and celebrate the life of Zora but to also encourage, inspire and educate the community by ways of helping authors and creating space where authors can come in and work.' Thinking about seeing Hughes's home in Cleveland years ago and others attached to Black writers, thinkers and culture shifters – spaces and places scattered throughout this country – remains an amalgamation of anguish and hope. Anguish for how displacement, dispossession and rejection of personhood for Black people is commonplace. But hope for how writing down these narratives in this piece itself is a reclamation and can't be erased even if obscured. Perhaps through communal effort, collaboration, funding and public awareness, preserving these legacies aren't as fraught as it seems. During my conversation with Leggs, he shared similar sentiments. 'Even in moments of fragility […] I believe that we can create a more knowledgeable and empathetic society that will begin to bear witness to Black humanity,' he said. 'And if we can use historic preservation to create that–to facilitate learning and reconciliation in a way that strengthens everyone's individual capacity–that for me is the beauty of the work.'
