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    White Supremacist Is Charged in 2019 Arson at Tennessee Civil Rights Landmark

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    Regan Prater set fire to the main offices of the Highlander Research and Education Center and took credit for it in encrypted messages, prosecutors said.A Tennessee man with ties to several white supremacist groups has been charged with setting a fire in 2019 that destroyed the offices of a social justice center connected with Rosa Parks and Martin Luther King Jr., according to court records.In a federal criminal complaint that was unsealed on April 24, the F.B.I. said that the man, Regan Prater, 27, set fire to the main offices of the Highlander Research and Education Center in New Market, Tenn., near Knoxville, and spray-painted an Iron Guard cross on the pavement outside.The symbol originated with fascists in Romania in the 1920s and 1930s, according to the Anti-Defamation League. It has more recently been used by white supremacists, including one who murdered 51 people at two mosques in New Zealand in 2019.Investigators in Tennessee said that Mr. Prater, of Tullahoma, took credit for the arson while chatting with an informant on Telegram, an encrypted messaging app that he used to communicate with other white supremacists.“I didn’t admit that, but dots can be connected,” Mr. Prater wrote to the informant when asked if he had set the fire, according to the complaint.He then gave details about how he had started the blaze, telling the informant, “It was a sparkler bomb and some Napalm.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jazzed About Abstraction: Jack Whitten’s Show Is a Peak MoMA Moment

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      “I’m a product of American Apartheid,” the artist Jack Whitten wrote, a blunt fact that led him to project, in his art, a very different reality, one of “infinite diversity in infinite combinations.” It was a vision that propelled and buoyed him through a nearly six-decade career. “This is why I get up in the morning,” he wrote, “and go to work!”And how very lucky we are, at a moment when references to diversity and difference are being scrubbed from accounts of our national history, to have a refreshing tidal wave of a Whitten career retrospective sweeping and scintillating through the special exhibition galleries on the Museum of Modern Art’s sixth floor.Titled “Jack Whitten: The Messenger,” the show encompasses some 180 paintings, sculptures and works on paper, from a 1963 art-school collage to a final painting from just before he died in 2018. Over that span Whitten called every studio he worked in a “laboratory,” and every piece of art he made an “experiment.” And, indeed, much of what’s in the show challenges ready definition.Whitten at his studio in 1974 with a large rake-like tool that he had made to apply a wide layer of paint to a horizontal canvas.Paul Viani, via The Museum of Modern Art, New YorkSuch is the case with a piece called “The Messenger (for Art Blakey)” installed just outside the first gallery. From a distance it could be a photograph of a star-drenched night sky, or of clouds of foam on a dark sea. Or it could a painting with white paint glopped and dripped, Abstract Expressionist-style, on a black ground. Get close and you find that, in fact, it’s a large rough-textured mosaic pieced together from thousands of pixel-like cubes of dried paint.You consult the title for meaning: Art Blakey, Black drummer extraordinaire, leader in the 1950s of the hardbop group called the Jazz Messengers. Suddenly the glops and drips look sonic, like musical bursts and pings.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Consumer Bureau Seeks to Undo Settlement and Repay Mortgage Lender

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      The Consumer Financial Protection Bureau wants to return a $105,000 penalty it collected last fall when it resolved a discrimination lawsuit.Under President Trump, the Consumer Financial Protection Bureau has dropped nearly a dozen enforcement cases brought during the Biden administration, ending lawsuits against banks and lenders for a variety of financial practices that the watchdog agency no longer considers illegal.But on Wednesday, the bureau went a step further: It is seeking to give back $105,000 that a mortgage lender paid to settle racial discrimination claims last fall.In an especially strange twist, the case — against Townstone Financial, a small Chicago-based lender — was brought during Mr. Trump’s first term by Kathleen Kraninger, the director he appointed to run the consumer bureau.Russell Vought, who became the agency’s acting director last month, said it had “used radical ‘equity’ arguments to tag Townstone as racist with zero evidence, and spent years persecuting and extorting them.”In its filing asking the U.S. District Court for the Northern District of Illinois to set aside the settlement it approved in November, the bureau said it had found “significant undisclosed problems” in its handling of the lawsuit, which the new leadership called an “unmerited” complaint that violated the defendants’ First Amendment free-speech rights.The case began in 2020 when the consumer bureau accused Townstone of redlining and breaking fair-lending laws by discouraging residents living in majority-Black neighborhoods from applying for its housing loans. It homed in on comments made during the company’s radio show and podcast, “The Townstone Financial Show,” saying they were intended to rebuff Black borrowers or those seeking to buy homes in certain neighborhoods.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      George Foreman, Boxing Champion and Grilling Magnate, Dies at 76

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      He claimed a world title in his 20s and again in his 40s, and then made millions selling grills.George Foreman, a heavyweight boxing champion who returned to the sport to regain his title at the improbable age of 45, and parlayed his fame and amiable personality into a multimillion-dollar grill business, died on Friday. He was 76.His family announced his death on his Instagram account. The family statement did not give a cause or say where he died.When Foreman returned to the ring after 10 years away, there was skepticism that a fighter of his years could beat any younger fighter, much less come back to the top of the game. But in 1994, he beat the undefeated Michael Moorer to reclaim the world title, shocking the boxing world.Foreman’s career spanned generations: He fought Chuck Wepner in the 1960s, Joe Frazier and Muhammad Ali in the ’70s, Dwight Muhammad Qawi in the ’80s and Evander Holyfield in the ’90s.And his popularity helped him make millions selling grills after his retirement.George Edward Foreman was born Jan. 10, 1949, in Marshall, Texas, to Nancy Ree (Nelson) Foreman and J.D. Foreman, a railroad construction worker. As an adult, he learned that his biological father was a man named Leroy Moorehead.Foreman was candid about being a bully and a petty criminal in his youth. After dropping out of school, he joined the Job Corps at 16. At 17, he tried his hand at boxing.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Arlington Cemetery Website Loses Pages on Black Soldiers, Women in Military and Civil War

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      Materials on the Arlington National Cemetery website highlighting the graves of Black and female service members have vanished as the Trump administration purges government websites of references to diversity and inclusion.Among the obscured pages are cemetery guides focused on Black soldiers, women’s military service and Civil War veterans. Some of the materials were still online Friday, but they were no longer easily accessible through the cemetery’s website.A part of the site devoted to segregation and civil rights was largely scrubbed. That section once included a walking tour focused on Black soldiers and a lesson plan on reconstruction.The cemetery, which is operated by the Army, said in a statement on Friday that it remained committed to “sharing the stories of military service and sacrifice to the nation with transparency and professionalism” and that it was working to restore links to the content.“We are hopeful to begin republishing content next week,” Kerry Meeker, a cemetery spokeswoman, said in an email on Friday.On Friday, the cemetery’s website still had an active page describing Section 27, which includes the graves of thousands of African Americans freed from slavery. Another active page listed prominent African Americans — including Medgar Evers, Thurgood Marshall and Colin L. Powell — buried on the grounds.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      For Black Women, Adrienne Adams Is More Than Just Another Candidate

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      The New York City Council speaker, who officially launched her mayoral campaign on Saturday, would be the first woman to lead City Hall.As Adrienne Adams officially kicked off her mayoral campaign on Saturday, she urged potential voters at a rally in Jamaica, Queens, to view her as an alternative to the city’s two most recognizable candidates, Mayor Eric Adams and former Gov. Andrew M. Cuomo.But many of her supporters see her candidacy as something else: an opportunity for Democrats to elect a qualified Black woman to lead the country’s largest city, less than a year after the bruising loss of Kamala Harris, the first Black woman to lead a major party presidential ticket.Wearing a pink pantsuit, Ms. Adams entered to cheers at the Rochdale Village Shopping Center in southeast Queens and danced with supporters as “I’m Coming Out” by Diana Ross played.“No drama, no scandal, no nonsense, just competence and integrity,” Ms. Adams said at the rally, summing up her candidacy.Ms. Adams, the City Council speaker and a Queens native, faces a tough path to the mayor’s office amid a crowded primary field and her own considerable fund-raising lag. But to the city’s most steadfast Democratic voting bloc, Black women, Ms. Adams’s candidacy represents more than a litany of messaging and policy promises.Ms. Adams presenting the city budget alongside Mayor Eric Adams, left, in 2022.Benjamin Norman for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      D.C.’s Planned Removal of Black Lives Matter Mural Reflects Mayor’s Delicate Position

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      Mayor Muriel Bowser’s decision comes amid calls by the president and other Republicans for more federal control of the city.On Wednesday morning in downtown Washington, D.C., Keyonna Jones stood on her artwork and remembered the time when she and six other artists were summoned by the mayor’s office to paint a mural in the middle of the night.“BLACK LIVES MATTER,” the mural read in bright yellow letters on a street running two city blocks, blaring the message at the White House sitting just across Lafayette Square. In June 2020, when Ms. Jones helped paint the mural, demonstrations were breaking out in cities nationwide in protest of George Floyd’s murder. The creation of Black Lives Matter Plaza was a statement of defiance from D.C.’s mayor, Muriel E. Bowser, who had clashed with President Trump, then in his first term, over the presence of federal troops in the streets of her city.But on Tuesday evening, the mayor announced the mural was going away.Ms. Jones said the news upset her. But, she added of the mayor in an interview, “I get where she is coming from.”The city of Washington is in an extraordinarily vulnerable place these days. Republicans in Congress have introduced legislation that would end D.C.’s already limited power to govern itself, stripping residents of the ability to elect a mayor and city council. Mr. Trump himself has said that he supports a federal takeover of Washington, insisting to reporters that the federal government would “run it strong, run it with law and order, make it absolutely, flawlessly beautiful.” In recent days, the administration has been considering executive orders in pursuit of his vision for the city.Potential laws and orders aside, the administration has already fired thousands of federal workers, leaving residents throughout the city without livelihoods and, according to the city’s official estimate, potentially costing Washington around $1 billion in lost revenue over the next three years.Given all this, Ms. Bowser, a Democrat, described her decision about Black Lives Matter Plaza as a pragmatic calculation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Paul Tazewell Is First Black Man to Win Oscar for Best Costume Design for ‘Wicked’

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      Paul Tazewell became the first Black man to win the Oscar for best costume design Sunday. Honored for his work on the Broadway musical adaptation “Wicked,” Tazewell stepped to the dais and said, “I am the first Black man to receive the costume design award.” The remark prompted a standing ovation as Tazewell continued with his brief acceptance speech, in which he thanked “my Oz-ian muses, Cynthia and Ariana,” referring to the actresses Cynthia Erivo and Ariana Grande.In 2019, Ruth E. Carter became the first Black designer to win the Oscar for costume design, for her work on “Black Panther.” More

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      Overlooked No More: Maria W. Stewart, Trailblazing Voice for Black Women

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      She was the first Black woman to publicly address other women, using essays and lectures in the 1830s to champion their rights and challenge oppression.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.One day in 1831, Maria W. Stewart walked into the Boston offices of the publisher William Lloyd Garrison with a manuscript in hand that she was hoping he would print in his recently launched newspaper, The Liberator.Garrison was a famous white abolitionist; Stewart was a 28-year-old former indentured servant. In her manuscript, a political manifesto, she recounted her upbringing and described the conditions for Black women in an oppressive America.She also argued for equal opportunity for Black Americans, and she did something no Black woman had done before: speak directly and publicly to other women, urging them to educate themselves, “to promote and patronize each other” and, even more, “to sue for your rights and privileges.” As the historian Kristin Waters, the author of “Maria W. Stewart and the Roots of Black Political Thought” (2022), told Worcester State University in 2022, Stewart was “one of the very first writers to express what we would now call ‘feminism.’”Garrison didn’t hesitate to publish Stewart’s “Religion and the Pure Principles of Morality, the Sure Foundation on Which We Must Build,” as well as many more of her essays, in what would become America’s pre-eminent abolitionist newspaper.The masthead of the Oct. 8, 1831, issue of the Liberator, which contained Stewart’s first essay.The LiberatorWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More