17 East 128th Street ca. 1864 This charming building is one of the few surviving wood frame houses in Harlem, built when Harlem was still a rural village separate from New York City. Designed with Second Empire and Italianate elements by an unknown architect, the house is clad in wood clapboard and features a full-width porch and a slate mansard roof. The house stands as a reminder of Harlem’s early history before being annexed to the city in 1873. 17 East 128th Street is a designated New York City Individual Landmark .

"Wurts residence, ca. 1912. The Wurts brothers were the premier architectural photographers of early 20th century New York City — in fact, they took this photo!"

2002–2008 5th Avenue Designed by Christian Brand 1868 These Italianate brownstone houses are survivors of the early development that started in Harlem beginning in the 1860s but was temporarily halted because of the Panic of 1873 and the economic depression that followed. They predate the oldest buildings in the designated Mount Morris Park Historic District and are virtually intact.

H. C. F. Koch & Company Department, ca. 1891. C. F. Koch & Company was established in 1860 in Greenwich Village as a purveyor of dry good and "fancy good." The business successful moved uptown to the Ladies Mile shopping district by the 1870s. Shocking their competitors in the neighborhood, Koch announced that they would close their 20th Street store for a move to Harlem in 1890. The Harlem building, designed by architect William H. Hume, was a five-story shopping emporium. Opened in 1891, the store sold its previous ware but, according to a contemporary article, also offered "a full line of millinery, china and glassware, bedding and furniture, shoes, boys’ clothing, etc." The building also featured passenger elevators, electric lighting, and a pneumatic tube cash system. The store remained successful through the mid 1920s but suffered as the neighborhood demographics shifted in the late 1920s and early 1930s. They closed in 1932 after the founder passed away. Somewhat surprisingly though the 1891 building remains on 125th Street looking very much like it must have 125 years ago.

Renamed in honor of Marcus Garvey in 1973, the park was built largely as a green space for Boss Tweed's Tammany Hall cronies, many of whom lived uptown by the 1860s. The land for the park had been purchased by the city in 1839, but landscaping was long delayed. Its design was eventually supervised by Ignaz A. Pilat, who would later serve as an able associate of Frederick Law Olmsted during the creation of Central Park.

Lenox Lounge, ca. 1985. The Lenox Lounge opened in 1939 and quickly became a favorite Harlem spot for musicians and those in search of great jazz, classy interiors (the bar’s legendary Zebra Room was known for its zebra skinned walls), and good drinks. By the 1960s there was less jazz activity in the neighborhood bars and by the end of the 20th century, the Lenox Lounge had deteriorated. In 1999-2000 it underwent a restoration to bring back its period details like the Zebra print walls and geometric floor tiles, while at the same time booking live jazz once again. Sadly, due to rent increases the club closed at the end of 2012. A new owner planned to keep the interiors for a new venue, while the owner who sold the building (and retained the rights to the Lenox Lounge name) planned to open a new club nearby. Neither plan came to fruition and the structure was demolished in 2017

Lenox Lounge, 1961. This legendary art deco lounge survived for decades before submitting to changing tastes and development. Billie Holiday, Miles Davis, John Coltrane, and a host of jazz greats all played here.

Orient Theatre, June 24, 1927. The Orient Theatre was in operation by 1915 and had a seating capacity of 600. The theatre remained open until the early 1950s. In 1952, famed Brooklyn Dodger Jackie Robinson opened a menswear and appliance store in a portion of the building which had previously housed the theatre.

L.M. Blumstein department store, 125th Street. March 21, 1954. Louis Blumstein, a German Immigrant, opened a department store on West 125th Street in 1898. Over the next two decades, the street continued to develop into an uptown shopping district. Blumstein died in 1920, but his family pressed on with expansion plans, breaking ground on a new, eight-story building in 1921. The hybrid Art Nouveau-Art Deco structure stretched the entire block between 124th and 125th Streets and made extensive use of copper ornamentation on its main facade. As African-American families moved to Harlem in greater numbers, the entirely white sales staff at Blumstein’s became a point of tension in the neighborhood. In 1934, the Citizens’ League For Fair Play organized a successful boycott of the store, leading to a change in its hiring practices. In 1943, Blumstein’s became the first department store to feature black mannequins and a black Santa Claus as part of its holiday programming. On September 20, 1958, Dr. Martin Luther King Jr. was stabbed at a book signing held at Blumstein’s. Izola Curry stabbed the civil rights leader with a letter opener, nearly piercing his aorta. A bystander wisely cautioned onlookers not to remove the letter opener, lest it cause damage on the way out, likely saving King’s life. The Blumstein family sold the building in 1976.

Hotel Theresa ARCHITECT: George & Edward Blum DATE: 1912-13 STYLE: Terra-cotta The Theresa entered the national limelight in 1960 when Cuban premier Fidel Castro chose to stay at the hotel while visiting New York to speak at the United Nations General Assembly; while at the Theresa, Castro hosted a visit from Soviet premier Nikita Khrushchev. The Hotel Theresa, built in 1912-13, is significant in the history of Harlem, America’s most prominent African-American community, as one of the most important social centers of that community. It is a major work by the noted architectural firm of George & Edward Blum, exemplifying this firm’s singular approach to ornamentation and inventive use of terra-cotta.

161 West 129th Street, ca. 1932.

Janes Walk 2023 Our Lovely Tour Guide: Kathy Bensen-Haskins As we make our way to the first stop on the tour, we will give you some background on Landmark East Harlem. It was founded in 2015 by a coalition of organizations and individuals whose mission is to protect the special character of the neighborhood. We do this by working to secure City landmark designation and State and National Register listing for individual properties and historic districts in East Harlem. We also advocate for contextual new development and adaptive reuse of older properties. We have succeeded in getting three individual buildings designated by the New York City Landmarks Preservation Commission and East Harlem’s first historic district listed on the State and National Registers. We hope the area we are about to tour will be the second historic district so listed later this year. In 2020 we commissioned a historic preservationist to conduct a reconnaissance historic resource survey for the area we are about to tour. Later this year, the New York State Board for Historic Preservation will meet and review nominations for both individual structures and districts, and we hope it will recommend the district for listing on the State Register of Historic Places. It will then be forwarded to the National Park Service for review and listing on the National Register.

Salem United Methodist Church, not dated. The Salem United Methodist Church was founded in 1881 as a mission church of a larger congregation. The community first met in a storefront and then a private home. By 1908 Salam was recognized as a separate church from St. Mark's Methodist Episcopal. By the 1920s the congregation had grown to more than 600 and the chapel and meeting rooms used by the parish in brownstones at 133rd Street and Lenox Avenue were no longer sufficient. The congregation moved into this building at 129th Street in 1924. The Calvary Methodist Episcopal Church had moved to the Bronx and sold this late 1880s-built Romanesque Revival church. Between 1908 and 1948 Salem was led by Rev. Frederick A. Cullen, pastor, activist, and adoptive father of poet Countee Cullen. It was here that Cullen married Yolande Du Bois, daughter of W.E.B. Du Bois in 1928. The wedding was a major social event in the history of the Harlem Renaissance. The opera singer Marian Anderson was also a congregant. In the 1950s, the community undertook an interior restoration that honored the historic character of the building but included new floors, organ, pews, and heating and cooling infrastructure. Today the church remains the home of the Salem United Methodist Church.

Saint Andrew’s Church ARCHITECT: Henry M. Gordon DATE: 1872-73 STYLE: Gothic, Church The architectural composition of Saint Andrew’s Church is distinctive and picturesque in the Gothic manner. Constructed of rock-faced granite, the Church’s rugged appearance has a solid quality and great dignity. The interesting massing of structural elements culminates in a handsome clock tower, adjacent to the south transept on 127th Street. Two graceful pointed-arch openings on each side of the belfry give form and deep shadow to the tower, while the slate-covered spire is adorned at each corner by delicate turrets. Cruciform in shape, the plan has galleries in the transept and side aisles in the nave. Simple buttresses, at the exterior of the south aisle wall, lend structural support and considerable interest to the design.

Temple Israel, ca. 1907. The Temple Israel Reform congregation was incorporated in 1873, first worshipping in a series of rented and temporary spaces in East Harlem, then in a converted church at Fifth Avenue and 125th Street. The congregation was primarily composed of German immigrants, part of what was then a large Jewish community in Harlem. In 1906, the congregation broke ground on its own space, a Neoclassical limestone synagogue at the corner of Lenox Avenue and 120th Street. However, Temple Israel’s Lenox Avenue tenure was to be short lived; Harlem’s Jewish population began to shift to other parts of the city, and Temple Israel followed suit, moving to a new, Upper West Side synagogue in 1920. The Mount Olivet Baptist Church, the current tenants, purchased the Lenox Avenue building in 1925.

"Settling in for what they initially assumed would be a temporary stay at Harlem’s Theresa Hotel, Anna and Merritt \[Hedgeman] set about looking for employment and permanent housing… The Theresa offered a suite of rooms at a reasonable rate, a central location, and a bit of celebrity. The stately white terra cotta and brick hotel had only recently opened its doors to black guests, but now a bevy of black entertainers, artists, and socialites called the “Waldorf of Harlem” home… The tallest building in Harlem, standing on the corner of 125th Street and 7th Avenue, now Adam Clayton Powell Jr. Boulevard, and near Frank’s Restaurant, the Apollo Theater, the Harlem Opera House, the African Memorial National Bookstore, and Blumstein’s Department Store, the Theresa literally offered a window on Harlem’s political, social, and cultural life. Anna and Merritt would become two of the hotel’s high-profile residents, a group that included writer Zora Neale Hurston, socialite Grace Nail Johnson, Negro Yearbook editor Florence Murray, and entertainer Bill 'Bojangles' Robinson." For more on the social world at Harlem's Theresa, check out this article by Jennifer Scanlon on the forgotten civil rights pioneer Anna Hedgeman in Gotham: A Blog for Scholars of New York City History.

"127th Street, north side, west from No. 29. In the background is St. Andrew's Protestant Episcopal Church, at No. 1-9 East 127th Street, July 28, 1932." This block of East 127th Street between Madison Avenue and Fifth Avenue has been give the honorific name of “Langston Hughes Place.” Hughes lived in an apartment on the top floor of the brownstone at no. 20 (approximately halfway down the block on the left) between 1947 and 1967. The 1869-built rowhouse was designated a New York City Landmark in 1981 due to its connection to Hughes.

Harlem was once a quiet suburban village. Until the mid-19th century, the area was largely undeveloped; most structures were isolated, free-standing frame houses. This collection surveys some of the frame houses that once stood in Upper Manhattan — including a few hardy examples that have survived to the present day.

The Apollo Theater is located at 253 West 125th Street. For more than forty years it was the country’s most important venue for black entertainment. Built in 1913, it was originally a vaudeville and burlesque house known as Hurtig & Seamon’s New Theater. Amateur Night, introduced by showman Ralph Cooper, Sr., has been a staple at the Apollo since its opening in 1934. Ella Fitzgerald, Sarah Vaughan, Billie Holiday, James Brown, and the Jackson Five are just a few of the winners of Amateur Night.

52 West 132nd Street, ca. 1932.

Saint Paul’s German Evangelical Lutheran Church ARCHITECT: Schneider & Herter DATE: 1897-98 STYLE: Neo-Gothic, Church Faced in bluish-gray Vermont marble, the church building is a distinguished example of late nineteenth-century neo-Gothic church design. The symmetrical tripartite facade, featuring projecting corner towers with prominent spires, is enriched with gabled arches, lancet windows, finials, and an impressive rose window of leaded opalescent glass with jewel work. After nearly a century of use, the church’s grandeur and architectural integrity are very much apparent.

Originally constructed for the Baptist Church of the Redeemer, this freestanding Romanesque Revival style building is of great cultural importance to the city for its ties to the Civil Rights Movement of the 1950’s-60’s. After changing hands several times, it was sold in 1936 to the Friendship Baptist Church, founded by the Rev. Dr. John Iverson Mumford. From the beginning, the church supported Civil Rights. Its second pastor, Dr. Thomas Kilgore Jr., was an associate of the Rev. Dr. Martin Luther King Jr., who delivered a sermon here in 1955. Among Rev. Kilgore’s other local and national Civil Rights efforts, he led the church to found the House of Friendship Community Center, which, in 1963, became the National Headquarters for the March on Washington for Jobs and Freedom, organized by Bayard Rustin. The congregation, still active today, was deeply involved in organizing the Harlem community’s participation in that historic March. In addition to its social and political significance, 170 West 130th Street’s façade is architecturally significant as the work of Vertner Woodson Tandy, the first African-American architect registered in New York State. The House of Friendship Community Center is located in the Central Harlem West -- 130-132nd Street Historic District.

Mount Morris Brownstones: 6–10 Mount Morris Park West Designed by James A. Ware 1891 This row of brownstone houses has recently been restored and is in beautiful condition. The architect, James A. Ware, is most recognized for his development of the dumbbell tenement.

Apollo Theater, ca. 1985. The most famous music venue in Harlem was opened as a “Whites Only” burlesque theater in 1914. It reopened as the Apollo Theater in 1934. From the swing bands of the 1930s to soul and gospel, rock, and blues, the Apollo has been host to Duke Ellington, Count Basie, the Staple Sisters, Mahalia Jackson, Ray Charles, Otis Redding, Aretha Franklin, Dave Brubeck, Stan Getz, Buddy Holly, Billie Holiday, Diana Ross & the Supremes, The Jackson 5, Marvin Gaye, Luther Vandross, Art Blakey, Dizzy Gillespie, James Brown, George Clinton and the Parliament-Funkadelic, Al Green, and in 2012, President Barack Obama singing "Let’s Stay Together" to Al Green.

St. Andrew's Episcopal Church ca. 1912 St. Andrew's, the first Protestant Episcopal congregation in Harlem, was organized in 1829 and opened its first church on Fourth (now Park) Avenue between 127th and 128th Streets the following year. Several additions enlarged the church before fire destroyed it in 1871. The next year, the congregation broke ground on the same site for a new church designed by Henry M. Congdon (1834-1922). The Gothic-style building was completed in 1873. St. Andrew's grew along with Nieuw Haarlem, a village established in 1658 by Peter Stuyvesant and bounded by the Harlem River, Morningside heights, 110th Street, and 155th Street. Because of the congregation's steady growth and the noise and smoke of the railroad along Park Avenue, a larger building on a different site was deemed necessary for St. Andrew's. In 1888, the building firm of Mahoney and Watson was hired to dismantle the church, brick by brick, and to reassemble and enlarge it on its present site, the east side of Fifth Avenue between 127th and 128th Streets. The larger building, shown here, accommodated congregants from the "aristocratic apartment houses and the popular brownstones'" of the neighborhood, populated primary by Germans and Irish and graced by such amenities as Oscar Hammerstein's Harlem Opera House on West 125th Street.

12 West 129th Street, ca. 1932. This building was erected in the late 19th century by William Paul and Thomas Wilson. The two men, carpenters and business partners, had purchased the lot late in 1862 to construct a two-and-a-half-story house that they initially addressed as "129th off Fifth." Since 1862, this house has seen numerous alterations. The Moorish-inspired porch was added in 1882-83 after John Simpson, the founder of the Estey Piano Company, and his family moved into the home. A full third story was added in 1896 when an order of Franciscan Sisters took over the property. The Sisters converted the home into a convent and reception home for poor children. According to the 1900 census, six sisters resided here; in 1903, one priest, four sisters, and eight servants were in residence; in 1920 there were nine sisters; and in 1925, there were five sisters and fifteen children between the ages of two and nine. In order to accommodate its new use, the Franciscan Sisters made many grand changes to the home—including enlarging the building itself. Now known as 12 West 129th Street, the home is a landmarked building and one of the last free-standing houses in Harlem.

Mount Olivet Baptist Church (Temple Israel) 201–203 Lenox Avenue Designed by Arnold W. Brunner, 1906–07 This Neo-Classical limestone building looks like a Roman temple, yet it was originally constructed as a synagogue. Arnold W. Brunner designed many synagogues, including Shearith Israel located on Central Park West, 10 years before this building, in 1897. If one looks closely, Stars of David can be found adorning the building. Mount Olivet, the first African-American congregation on Lenox Avenue, has occupied this building since 1924. The congregation was organized in 1878 and continues to worship at this site today. This building is an example of religious structures in Harlem serving different religions and cultures over time as residents change.

New York Public Library, Harlem Branch. March 20, 1928. A Carnegie Library designed by the McKim, Mead & White firm, the Harlem Branch opened to the public in January 1909. It replaced an earlier Harlem Branch library which, according to the NYPL, had been in operation as early as 1826.

Hotel Theresa ca. 1934 Built by Gustavus Sidenberg, a lace dealer who named the hotel for his late wife before marrying another Theresa, the Hotel Theresa was hailed as a triumphant testament to Harlem's arrival as a self-contained district. It was the tallest Harlem structure of its day, retaining that distinction until 1973, when the Adam Clayton Powell Jr. state office building was erected. The structure's height, together with the stylized sunrise on the façade, symbolized the builder's hopes for all the good things modernity was still to bring to Harlem. Sidenberg maintained a strict policy that excluded black people, except as servants. Many other hotels, theaters, and department stores discriminated against blacks during the years now celebrated as the Harlem Renaissance. Not until 1937, nearly twenty years after African Americans came to dominate Harlem's population, was this discriminatory policy rescinded at the Hotel Theresa. New black owners welcomed boxer Joe Louis, singer and actress Lena Horne, and dancer and singer Josephine Baker, as well as Cuban premiere Fidel Castro. Senator John F. Kennedy would choose the Hotel Theresa as his forum when he asked Harlem blacks for their support, and Malcolm X would form the Organization of Afro-American Unity in the top floor's double-height dining room.

Harlem Opera House ca. 1905 Impresario Oscar Hammerstein's 1,800-seat Harlem Opera House was designed by one of the city's most productive theater specialists, J. B. McElfatrick & Sons. The facade was ornately embellished with arabesque panels and a hierarchy of pilasters; allegorical statuary surmounted its crowning parapet. Its interpretation of European architecture was as free as that of any Disney castle. Jules Hurtig and Harry Seamon took over the Harlem Opera House around 1903 and operated there until they leased a newly-built theater at 253 West 125th Street (corner of Lenox Avenue) in 1914. Hurtig & Seamon's (New) Burlesque Theatre played to an all-white clientele, but in 1928, that structure became the Apollo Theatre.

Also known as the Mount Morris Turkish Baths, June's Landmark Spotlight for NYC Pride Month is located at 28 East 125th Street. Built in 1889-90 by C. Abbott French & Co., the structure was designed as a blend of two popular styles at the time, neo-Grec and Queen Anne.

Apollo Theater ARCHITECT: George Keister DATE: 1913-14 The Apollo Theater was for four decades starting in the 1930s one of New York City’s and the nation’s foremost arenas for leading popular black American performing talent. It retains much of its original character, including its proscenium and flanking boxes and classically-inspired plaster ornament. Its construction reflects the early twentieth-century entertainment history of vaudeville and burlesque in Harlem, in particular, the tradition of Harlem theaters which displayed black performers in a variety show format. The Apollo Theater was graced by the presence of nearly all major black American performers at some point in their careers, reflects the migration of blacks to Harlem and represents the cultural contributions of Harlem and black Americans to New York City and the nation.

Metropolitan Baptist Church ARCHITECT: John R. Thomas DATE: 1884-85 STYLE: Gothic, Romanesque Revival Designed in two sections by different architects, the Metropolitan Baptist Church (originally the New York Presbyterian Church) is a fine example of the many new churches built in Harlem during the late 19th century at a time when the local church represented wealth and stability to the community. The building is distinguished by a somewhat unusual blend of the Gothic and Romanesque Revival styles, both favored in part for their imposing character, and reflects the importance of its original congregation. The earlier section of rough-faced limestone church, fronting on West 128th Street, was planned by John Rochester Thomas in 1884. It housed a small lecture room/chapel and was erected with the intention of adding a principal auditorium structure at a later date. The addition, comprising the Seventh Avenue facade and the northern section of the church, was completed in 1890 and designed by Richard R. Davis. Davis’ extension, with its dominating gable and towers, complemented the Thomas design incorporating many details from the earlier structure.

St. Andrew's Protestant Episcopal Church, ca. 1908. In 1829, St. Andrew’s became the first Episcopal parish in the Village of Harlem. After its first church on East 127th Street was destroyed in an 1871 fire, architect Henry M. Congdon designed a new Victorian Gothic structure as its replacement. In 1889, the Congregation elected to move to a new site at 127th Street and Fifth Avenue in order to better reflect the geographic distribution of its pewholders (in the 19th century, it was commonplace for churchgoers to rent their pews). Rather than build a new church, Congdon was enlisted to develop a plan for a new building incorporating elements of the current structure. Today’s church is Congdon’s relocated St. Andrews, with additional features added and adaptations made to suit the new site, including a 125-foot slate-clad clocktower.

Park & Tilford ca. 1908 By the time the Park and Tilford building was completed in 1907, architect B. Hustace Simonson had emerged as a leader in duplex apartment design. His fashionable reserve is well-represented here: Ionic pilasters on the upper floor correspond to the ground story's Ionic piers and engaged columns. Only the entrance to the offices has any decorative flourish-a flowery garland. Park and Tilford was one of New York's most prestigious purveyors of fine spirits, choice groceries, and tobacco. The rich of Harlem shopped here in the 1910s, and a teenage Henry Roth (later to become an acclaimed writer) worked as a delivery boy. Delivering groceries throughout the neighborhood, he observed that Harlem was a divided community: white gentiles shopped primarily on 125th Street, Jews on 116th Street, and African Americans on 135th Street. Roth appreciated all too well that there were many places where he, a Jew, was no more welcome than were black newcomers. Fearing the effects of the anticipated enactment of Prohibition and faced with an increasingly poor and black neighborhood, Park and Tilford closed its doors in 1919.

122nd Street, east from Seventh Avenue (now Adam Clayton Powell Jr Boulevard). Ca. 1905. Thaddeus Wilkerson's street scene has every appearance of a Sunday stroll, with men, women, and children (plus one stray dog!) all out and about. The church in the background is St. Martin’s Episcopal. The storefronts of the corner building at right is (then No. 2039) are J. Perlmutter, possibly a grocer, and American Lenox Laundry.

Adam Clayton Powell Jr. Boulevard and 126th Street ca. 1964 Following the killing of James Powell, a fifteen-year-old boy, by police, on July 16th, 1964, Harlem and Bedford-Stuyvesant erupted into six consecutive nights of rioting and protests. Disparate groups in both communities, outraged at continued racism and police brutality, organized a series of meetings that looked for solutions in the form of everything from passive protest to active revolution. Throughout the riots, protestors clashed with the police, whose presence and anti-riot tactics were inflammatory for the grieving neighborhood. Four thousand New Yorkers were said to have taken part in the riots that ended on July 22nd, leaving one rioter dead, and hundreds more injured and arrested.

Originally constructed for the Baptist Church of the Redeemer, this freestanding Romanesque Revival style building is of great cultural importance to the city for its ties to the Civil Rights Movement of the 1950’s-60’s. After changing hands several times, it was sold in 1936 to the Friendship Baptist Church, founded by the Rev. Dr. John Iverson Mumford. From the beginning, the church supported Civil Rights. Its second pastor, Dr. Thomas Kilgore Jr., was an associate of the Rev. Dr. Martin Luther King Jr., who delivered a sermon here in 1955. Among Rev. Kilgore’s other local and national Civil Rights efforts, he led the church to found the House of Friendship Community Center, which, in 1963, became the National Headquarters for the March on Washington for Jobs and Freedom, organized by Bayard Rustin. The congregation, still active today, was deeply involved in organizing the Harlem community’s participation in that historic March. In addition to its social and political significance, 170 West 130th Street’s façade is architecturally significant as the work of Vertner Woodson Tandy, the first African-American architect registered in New York State. The House of Friendship Community Center is located in the Central Harlem West -- 130-132nd Street Historic District.

Protestant Episcopal Church of the Holy Trinity ca. 1932 Inspired by Henry Hobson Richardson's Trinity Church in Boston (1872-1877), Harlem's Holy Trinity is built of granite with bands of reddish brown Longmeadow sandstone. Its three buildings are highly individual but still coherent as a group. A particularly masterful touch is the cluster of homelike chimneys that balances the institutional center lantern. On the interior, the church is fifty feet square at the crossing, with shallow transepts and a raised chancel embellished with carving, stained glass, and mosaics. Because of two devastating fires, these decorations supplied by the Tiffany Studios no longer exist.

Fire at 102 West 129th Street, May 5, 1925. A fire was discovered in the basement of No. 102 West 129th Street, at Lenox Avenue, in the early morning hours of Tuesday, May 5. All tenants were evacuated without serious injury.

This bar is renowned for its history as a performance venue in Harlem, hosting such greats as Billie Holliday, Miles Davis and John Coltrane and patrons such as James Baldwin and Langston Hughes in its famed Zebra Room. The exterior and interior contain hallmarks of the Art Deco style including the graphic signage on the front of the building. It has been used in numerous television shows, music videos and movies. The bar was restored in the late 1990s. Note- The Lenox Lounge is no longer open.

My Archive Spring 2019 "My parents' wedding day in 1958." —Teri Graham

311 Lenox Avenue, 1920. The better known and more prominent location of the Corn Exchange Bank in Harlem occupied a large lot at the corner of 125th Street and Park Avenue (built as the Mount Morris Bank in 1883 and taken over by the Corn Exchange in 1913). Bu,t with the success of the bank, further expansion in the neighborhood was undertaken in 1919. A four-story house was purchased near the corner of 125th and Lenox Avenue. It was quickly demolished and a new bank structure designed by S. Edson Gage was quickly constructed, featuring a large arched window.

As African Americans migrated uptown to Harlem in large numbers in the 1910s and ’20s, existing theaters began showcasing black performers. Some of these venues welcomed black audiences. The Apollo Theater, which had operated as a burlesque venue in the 1910s and ’20s, was relatively late in bringing on black entertainers. Although performers such as blues singer Alberta Hunter are said to have appeared here as early as 1930, African-American performers became the rule under new ownership in 1932. Three years later, again under new ownership, the Apollo instituted a permanent variety show format featuring leading black talent that would last until the 1970s. This was particularly important as, even through the 1950s, few major theaters across the United States featured black entertainers. Every form of popular African-American entertainment – comedy, drama, dance, gospel, blues, jazz, rhythm and blues, swing, bebop, rock and roll, and soul music – was showcased at the Apollo. LGBT luminaries included comedian Jackie “Moms” Mabley; singers Bessie Smith, Alberta Hunter, Billie Holiday, Ethel Waters, Willie Mae “Big Mama” Thornton, Josephine Baker, Clyde McPhatter, Little Richard, Carmen McRae, Johnny Mathis, Arthur Conley, Carolyn Franklin (and sister of Aretha), Billy Preston, Nona Hendryx, Teddy Pendergrass, and Luther Vandross; and gospel greats Clara Ward, Sister Rosetta Tharpe, Marie Knight, Alex Bradford, Ruth Davis, Jackie Verdell, and James Cleveland.

Lafayette Theatre, 1936. Known to Harlem locals as "the House Beautiful", the Lafayette Theatre was a Renaissance-style building that became a neighborhood landmark. Completed in 1912 to the plans of theatre architect, Victor Hugo Koehler, the two-story, 1500 seat venue was the brainchild of Lower East Side banker, Meyer Jarmulowsky (of the Jarmulowsky Bank family). Initially, African Americans were only allowed seating in the balcony and then were permitted to buy seats in the orchestra, but were charged double the cost of a ticket for a white patron. Through complaints and the loss of revenue, due to this policy, the theatre made a change. One year after opening, the Lafayette became one of the first major theatres to desegregate. This action brought larger black audiences, and a contemporary critic suggested that this would mean more serious black productions. The Lafayette Players, Harlem's first black legitimate theater group, was founded here in 1916 and the theatre and its adjacent nightclub hosted some of the well-known performers of the day, including Bessie Smith, Moms Mabley, Leadbelly, and Duke Ellington. The theatre closed in the 1930s but was revived as part of the Works Progress Administration's Negro Theater Project. In 1936, its most famous production debuted: a performance of "Macbeth," which moved the action to a Caribbean island, directed by 20-year-old Orson Welles. Referred to as "Voodoo Macbeth," the show played here for 10 weeks before transferring to Broadway and having a national tour. The theatre closed once again in 1951 and the building was purchased by the Williams Christian Methodist Episcopal Church. While the interiors were altered, other than removing the marquee, the exterior remained unchanged until 1990. That year the church demolished the exterior, which was unprotected, and replaced it with a somewhat Brutalist marble and concrete facade. The building and its abutting structure to the south, which once housed the Ubangi Club, a nightclub known for its openness to all races, genders, and sexual orientations, were demolished in 2013. The replacement apartment house is called The Lafayette.