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    Harlem House Where Billie Holiday Lived Is Damaged in Fire

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    The jazz legend lived in the five-story building on West 139th Street as a teenager with her mother.A four-alarm fire on Wednesday evening severely damaged a building in Harlem where the jazz legend Billie Holiday once lived.The Fire Department said it received the call at about 9 p.m. and extinguished the fire, which spread through all five floors of the building, shortly before 1 a.m. on Thursday morning. No civilians were injured, though four firefighters sustained minor injuries. The cause of the fire is under investigation.“Due to the structural stability of this building, as it was vacant for many years and the amount of fire, we had to pull our members out of the building and go to an exterior fire attack,” Kevin Woods, the Fire Department’s chief of operations, said in a news conference.A portrait of Billie Holiday at Carnegie Hall in 1946.Heritage Images, via Getty ImagesThe building is owned by the city’s Department of Housing Preservation and Development, which is responsible for maintaining the quality and affordability of housing, among other duties.“Even before the fire, HPD had been actively working with our partners to plan the complete rehabilitation of this building through our preservation programs, relocating tenants to safer housing as part of that process,” Natasha Kersey, a spokeswoman for the Department of Housing Preservation and Development, said in an emailed statement to The Times.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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      Revisiting the Harlem Renaissance

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      Why the era still resonates a century later.I’m a Brooklyn girl, but I’m low-key obsessed with the Harlem Renaissance. I’ve written a book about the era and taught its literature at universities. I can, and often do, spend whole weekends rereading Langston Hughes and Zora Neale Hurston, listening to Louis Armstrong and Duke Ellington, thumbing through books featuring artwork by Aaron Douglas and Augusta Savage.But what brings me back to the Renaissance again and again is the way it changed this country. When the movement started a century ago, the United States was finally creating our own distinctly original culture — songs and dances, paintings and novels. We were looking less to Europe as a model of creativity. And in this moment — the 1920s, in New York City, both uptown and downtown — we become more wholly American.This year, a team of Times journalists marked the 100th anniversary of the Harlem Renaissance with a series examining its vibrant history.A 1925 breakfast party for Langston Hughes.Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public LibraryWe began with a little-known dinner party that took place on March 21, 1924, an unprecedented interracial gathering that included such luminaries as W.E.B. Du Bois, Carl Van Doren and Alain Locke, as well as up-and-coming writers like Gwendolyn Bennett and Countee Cullen.Even today, in New York, this kind of gathering is rare. The purpose of the dinner was to marry talent to opportunity, connecting writers with editors and critics, and it was a wild success: In the decade after the dinner, Renaissance writers published more than 40 volumes of fiction, nonfiction and poetry, works that transformed the literary landscape of our nation. You can read about the dinner party (and the friendships, feuds and affairs that it launched) in this piece.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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      Studio Museum in Harlem to Open New Building in Fall 2025

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      The 82,000-square-foot structure on 125th Street will open with a show featuring the artist Tom Lloyd.The Studio Museum in Harlem on Tuesday announced that it will open its new home on 125th Street in the fall of 2025. Its first show there will bring the museum full circle by focusing on the work of Tom Lloyd, the artist, educator and activist who was featured in the 1968 opening exhibition of the institution — which was then just a second-floor rented loft on upper Fifth Avenue.“This building represents the collective aspirations of all who have been involved in thinking about what it would mean to make a museum on 125th Street devoted to the work of Black artists,” said Thelma Golden, the museum’s director, in a recent walk through the new structure. “This space allows us to fully execute on all of the work that we have been known to do, but gives us so much more capacity and so much more possibility.”Featuring stacked volumes of differing sizes over five stories, the new building provides 82,000 square feet, increasing the exhibition space by more than 50 percent and the public areas by about 60 percent.The museum’s news release makes no mention of the building’s architect, David Adjaye, nor those currently credited for the design — Adjaye Associates in collaboration with Cooper Robertson. (The museum parted ways with Adjaye in the wake of allegations of sexual harassment and misconduct. Adjaye has denied the accusations.)Golden declined to discuss Adjaye, but said, “We are thrilled with and proud of this design and look forward to working in it.” A rendering of the lobby, facing north. The museum said it has raised more than $285 million of a $300 million capital campaign for future sustainability. via Adjaye AssociatesWe 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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      Test Your Literary Knowledge of the Harlem Renaissance

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      Welcome to Lit Trivia, the Book Review’s regular quiz about books, authors and literary culture. This week’s installment tests your knowledge of novels, poems and memoirs by writers connected to the Harlem Renaissance, a creative movement by Black authors, artists and musicians that crystallized into a cultural force a century ago. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the books and other information if you’d like to do some further reading.3 of 5In 1930, Langston Hughes collaborated on a play called “Mule Bone,” which was never finished but was published in a new edition and produced on Broadway in 1991, long after both authors were dead. His co-writer, who was also an anthropologist, was the author of several fiction and nonfiction books, including an autobiography titled “Dust Tracks on a Road.” Who was it? More

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      Even With No Speakers, Pro-Palestinian Activism Marks CUNY Law Ceremony

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      With speeches canceled, students at the CUNY School of Law ceremony chanted, carried signs and walked out.In some ways, a walkout by pro-Palestinian students at the City University of New York School of Law’s commencement on Thursday was part of the unique political moment that has marked the Class of 2024’s graduation season at so many universities.But CUNY law students were also carrying on something of a graduation tradition at their school.Students chanted pro-Palestinian messages, waved painted banners as they walked across the stage and turned their backs to the law school’s dean, Sudha Setty, during her remarks onstage at the Apollo Theater in Harlem. Then, after the last degrees had been conferred, dozens of students rose from their seats and walked out, joined by a handful of professors and guests.“It reminded me so much of why I came to CUNY Law,” Ale Humano, one of the graduates who walked out of the ceremony, said.The walkout on Thursday is not the first time that tensions over Israel have taken center stage during a commencement ceremony for the New York City public law school. The school, which is known for fostering public interest lawyers, has been a hot spot for pro-Palestinian activism for years, and its graduation ceremonies have recently become the site of conflict over politics related to Israel.For the past two years, law school commencement speakers have made support for Palestinians and opposition to Israel a focus of their speeches, eliciting criticism from public officials, who called the speeches antisemitic.In 2023, Fatima Mousa Mohammed, a Yemeni immigrant and an activist devoted to the Palestinian cause, denounced “Israeli settler colonialism” in her address. The speech set off furious coverage and a wave of public criticism, including from Mayor Eric Adams, who spoke at the same ceremony and condemned the speech’s “divisiveness.”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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      Trump Leaves His Trial to Rail Against Crime and Jab at Prosecutor

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      In his first campaign stop since his criminal trial in Manhattan began, former President Donald J. Trump on Tuesday visited a bodega in Harlem where he made a pointed attack on the district attorney prosecuting him and portrayed himself as tough on crime, a central theme of his 2024 run.His visit to the store — the site of a case that prompted political controversy for Manhattan’s district attorney when an employee was charged after fatally stabbing a man after a confrontation — made for a striking juxtaposition.After spending much of the day in a Manhattan courtroom as a criminal defendant, Mr. Trump immediately traveled uptown both to criticize the district attorney, Alvin Bragg, for being too lenient on crime and to play up his “law and order” message.Mr. Trump has for months tried to draw a distinction between his frequently expressed tough-on-crime stance and the felony charges he faces in four separate cases. Outside the bodega, he again tried to dismiss his charges as political persecution, arguing that Mr. Bragg was too focused on Mr. Trump’s 2016 campaign sex scandal cover-up trial and was ignoring crime in the city.“It’s Alvin Bragg’s fault,” Mr. Trump said. “Alvin Bragg does nothing.”Though Mr. Trump is prevented by a gag order from attacking witnesses, prosecutors and jurors in his New York case, the order does not cover Mr. Bragg or the judge overseeing his trial.Before he arrived at the bodega, his campaign attacked Mr. Bragg over his handling of the 2022 incident, in which Jose Alba, a clerk, was charged with second-degree murder after stabbing a man, Austin Simon, in an altercation.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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      A Steadying Force for The Africa Center is Stepping Down

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      Uzodinma Iweala, chief executive of the Harlem institution, will leave at the end of 2024 after guiding it through pandemic years and securing funds.After guiding The Africa Center through rocky pandemic years and securing a huge chunk of funding for a major construction project, the leader of the Harlem institution is stepping down.Uzodinma Iweala, who is in his seventh year as chief executive of the Africa Center, will depart at the end of 2024.Iweala’s leadership helped to settle an institution with a tumultuous past of various mandates, locations and even names. It was formerly known as the Museum for African Art, which The New York Times’s co-chief art critic, Holland Cotter, called the “source of some of the most conceptually daring exhibitions of its era,” and before that, the Center for African Art. Faced with a delayed opening date during the pandemic, Iweala expanded its programming to include lectures and visits from heads of state, outdoor dance parties, films and author talks. All of it was aimed at connecting with the African diaspora and changing the way Americans interact with the African continent.Iweala, who as a writer and medical doctor has a nontraditional background for an arts institution leader, said he planned to focus on new creative projects including finishing a book. His multifaceted background and personal history — he is Nigerian-American and has lived in Nigeria — were regarded by many in the arts community as a good fit for an institution trying to transform itself into more than a museum or gallery. In an interview last year, the Studio Museum in Harlem’s Thelma Golden called him “visionary.”“I’m really proud of what we’ve been able to build over the past few years, especially in a challenging environment,” Iweala said. “It’s the right time to leave for me and for the institution.”Under Iweala, the Center has partnered with the Museum of Food and Drink on an exhibition as well as independent curators to offer “States of Becoming,” a 2022-23 exhibition that featured 17 African artists from the continent and diaspora. He partnered with the University of Cape Town to help organize a media index to track how Africa is covered in the media and created the Future Africa Forum that offered discussions with presidents, philanthropists and other leaders during the U.N. General Assembly meetings in New York.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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      Subway Death in NYC Gives Insight Into the City’s Challenges

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      The man charged with shoving a man from a subway platform had a violent history, according to officials. The man who died was recovering from his own troubled past, his family said.Before the paths of Jason Volz and Carlton McPherson collided in a terrible moment on a Harlem subway platform on Monday, their lives had seemed to be heading in opposite directions.Mr. McPherson had been hospitalized at least half a dozen times since last year for mental health treatment, according to someone who has seen some of his medical records. A neighbor in the Bronx said he sometimes slept in a hallway closet in his grandmother’s building because she would not let him into her apartment. Last October, a man whom prosecutors believe to be Mr. McPherson — he had the same name and birth year — was charged with beating a Brooklyn homeless shelter employee with a cane.Mr. Volz, 54, was recovering from addiction and had also endured homelessness, but had gotten sober two years ago and had just moved into a new apartment, his ex-wife said.On Monday night, the police say, Mr. McPherson, 24, walked up to Mr. Volz on the uptown platform of the 125th Street station on Lexington Avenue and shoved him in front of an oncoming No. 4 train.Responding police officers, who had been on another part of the platform, found him lifeless beneath the train. His death was a recurrence of the ultimate New York City nightmare, and another example of the difficulty of preventing violence on the subway despite years of efforts by state and city authorities to keep people struggling with severe mental illness out of the transit system.Mayor Eric Adams, who has watched crime in the subway largely defy his attempts to rein it in, sounded a note of defeat on Tuesday, acknowledging that the presence of police officers had not been enough to stop Monday’s attack.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