234 West 131st Street, ca. 1932.

"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!"

Advance Division of the Universal Negro Improvement Organization, 1939. The UNIA, founded by Marcus Garvey in 1914, advocated universal black solidarity and exerted considerable influence prior to Garvey’s 1925 deportation. The organization was headquartered on 135th Street in Harlem, and operated hundreds of chapters worldwide. The buildings on in this photograph were demolished by Robert Moses, under the pretense of slum clearance, for the construction of the Lenox Terrace housing development, which now occupies the superblock between 132nd and 135th Streets, Fifth Avenue, and Malcolm X Boulevard (then Lenox Avenue).

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.

St. Philip’s Episcopal Church, founded in 1809, is one of the country’s oldest black parishes. From its origins in Lower Manhattan, the church moved uptown several times, following the black community and seeking safety from sporadic violence such as the race riot of 1900. Around the turn of the century, church rector Hutchens Chew Bishop began buying Harlem rental properties, evicting whites and renting to blacks. With the income, he bought land on 134th Street and hired black architect Vertner Tandy to design a new building. The impressive Gothic structure provided a spiritual and community home for black parishioners in Harlem.

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.

Harlem YMCA, ca. 1930. Officially designed by the Architectural Bureau of the National Council of the YMCA, the architect in charge of the project was James C. Mackenzie, Jr. The red brick, neo-Georgian building was completed in 1932 and replaced a former YMCA building across the street. The building became an important location for the African American community in Harlem, with a number of well-known residents, including authors Ralph Ellison and Maria Celeste and Malcolm X.

161 West 129th Street, ca. 1932.

Saint Philip’s Protestant Episcopal Church ARCHITECT: Tandy & Foster DATE: 1910-11 STYLE: Neo-Gothic, Church St. Philip’s Protestant Episcopal Church is the fourth home of New York City’s first African-American congregation of Protestant Episcopalians. From its beginnings as the African Episcopal Catechetical Institution in the City of New York shortly after the American Revolution, St. Philip’s was established as its own parish in 1818 under the leadership of Bishop John Henry Hobart and the Reverend Peter Williams, Jr. St. Philip’s long and inspiring chronicle of religious and social activism adds a depth to our national history not generally acknowledged. The movement of St. Philip’s congregation northward, beginning in lower Manhattan, to the present location in Harlem, reflects the residential patterns of New York City’s African-American population. When the Reverend Hutchens Chew Bishop purchased residential property in Harlem in 1908 on behalf of St. Philip’s and the church building was constructed at its present location, St. Philip’s became one of the first institutions to attract African-Americans to Harlem. St. Philip’s Church building was designed in the neo-Gothic style by the firm of Tandy & Foster. The design of the facade, a response to certain liturgical requirements, incorporates fourteenth-century English, or Perpendicular, Gothic elements in contrasting orange Roman brick and cast-stone aggregate. Vertner W. Tandy was the first African-American architect to be registered in the State of New York and George Washington Foster, Jr., was among the first African-Americans to practice within the architectural profession in the United States. St. Philip’s has continued its nearly two-hundred-year tradition of service to its congregation and community, addressing the spiritual needs of its members and providing a variety of social programs.

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.

Once called the "richest Negro church in America," St. Philip's Episcopal Church is also one of the oldest black congregations in New York. The church was organized in 1818 by, among others, Peter Williams Jr., a passionate political activist, and abolitionist. Many of the parishioners of St. Philip's were members of New York's extremely small nineteenth-century black elite. Located since 1886 in the infamous Tenderloin neighborhood on the middle west side of Manhattan, St. Philip's acquired a new church site on the south side of West 134th Street near Seventh Avenue in 1909. (The church also purchased ten apartment houses on West 135th Street that had previously been restricted to whites. When the congregation began its move to Harlem, St. Philip's evicted the white tenants and made the apartments available to blacks. For half a century, rent from those apartments subsidized the St. Philip's endowment). One of the architects of the church, which opened in 1911, was Vertner Woodson Tandy, the first black architect registered in New York and designer of Madam C. J. Walker's townhouse/hair parlor.

The Wishing Tree was originally located in front of the Lafayette Theater on 7th Ave and 132nd Street. In the 1920s and 1930s, 7th Avenue was commonly called the "Boulevard of Dreams" by Harlem residents, as it was lined with prominent performance venues. Reportedly, before performances, actors, musicians and the like would touch the branches and bark of this tree for good luck on stage. The tree was a symbol of promise for Harlem. Unfortunately, the good-fortune granting shrub was chopped down by the Parks Department in 1934 to widen the Avenue, and sections of it were cut up and sold to private hands. Seeking to preserve the public tradition of the lucky charm, Bill "Bojangles" Robinson saved the stump and brought it at a nearby traffic island. The "replanting" ceremony was attended by over 5,000 Harlem residents, who led a "rhythmic planting" in homage to the music industry the tree served. Even Mayor LaGuardia attended the ceremony. A young sapling was planted at the original location of the Wishing Tree, but hope-seekers continued to visit the stump. Soon, a plaque was laid in front of it, which read "The Original Tree of Hope Beloved by Citizens of Harlem." On November 13th, 1934, the New York Daily News interviewed a few visitors to the newly-minted Wishing Tree. Here are their accounts: George A. Seward, of West 132nd Street, unemployed at the time: "My wish is for tolerance among men and between races. We would all be happier if we could live together without hate or prejudice, each man respecting the other's rights and feelings. If you let me make another wish, I'll make a wish for a good job." Miss Margaret G. Jackson of West 143rd Street, a homemaker: "I've just made a wish and that's a good one, brother. I wish that prosperity will return soon to Harlem, like we used to have it five or six years ago. This Wishing Tree was planted in bad times, and if things go by opposites I will get my wish." Edward M. Fentress, of Seventh Avenue, mortician: "To be able to minister to my fellow men. In particular, I want to minister to the aged and infirm and to children. Boy, how I love the little pickaninnies! Everybody does, and I'm also wishing that we will have a fine playground for them somewhere in Harlem." Miss Peg Buckhoy of West 138th Street, a dancer: "$1,000,000 in cash. Just watch my smoke when my wish comes true. It's bound to come true, because this is the Wishing Tree, and that's what they planted it in Harlem for. I'll give Bill Robinson $1,000 a night to teach me the secret of his dancing, although I'm some dancer myself." Mrs. Roberta T. Williams, of West 143rd Street, a homemaker: This Wishing Tree is new in Harlem, and I've come here to wish that every person who makes a wish her will have his or her wish granted. I'm coming again tomorrow to make another wish, and then I'm wishing that I will always continue to look young enough to be mistaken for my daughter's sister." J.W. Stewart, West 128th Street, steward: "I'm wishing for money and plenty of it. With money I can have all the friends in the world and do anything I want to do. Without it there are few friends and very little liberty. People say that money isn't everything in the world, but try to do something without it." The Wishing Tree has since been removed, but a commemorative sculpture, titled "Tree of Hope III," by Harlem artist Algernon Miller, takes its place. A portion of the original stump can be visited in the Apollo Theater.

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.

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.

240 West 131st Street, ca. 1932.

Playground on West 133rd Street, undated photo. The West 134th Street bath house is visible at upper left. The buildings in this photo would all be razed ahead of the construction of the Lincoln Houses.

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.

As New York battles the Coronavirus pandemic this summer, city businesses and public spaces are re-opening in phases. In Phase 3, libraries, tattoo parlors, spas, massage and nail salons, basketball and tennis courts, dog runs, and public beaches are among the spaces to open back up to the public—including some of these long-standing New York City establishments.

Saint Aloysius Roman Catholic Church ARCHITECT: William W. Renwich DATE: 1902-04 STYLE: Italian Gothic, Church The richly ornamented, polychrome St. Aloysius Roman Catholic Church was built in 1902-04 to the design of William W. Renwick based on Italian Gothic prototypes, an unusual source of stylistic inspiration for buildings in New York City. Named after the 16th-century Italian St. Aloysius Gonzaga, the church was organized in 1899 by Rev. John A. McKenna and constructed during a church-building campaign in Harlem to accommodate the growing immigrant population. W.W. Renwick, nephew of noted architect James Renwick, Jr., joined his uncle’s firm in 1885 and became a junior partner in 1890. In his work in that firm and its successors, and in independent practice after 1900, he specialized in ecclesiastical architecture and decoration. The intricate facade of St. Aloysius, considered one of W.W. Renwick’s most important commissions, consists of alternating bands of red brick, celadon-colored glazed brick (by the Grueby Faience Co.), and glazed “granitex” (with the color and texture of grey granite) terra cotta with cobalt blue accents (by the New York Architectural Terra Cotta Co.) in a wide variety of molded motifs.

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.

The Harlem Renaissance was one of the most important cultural movements in American history. The legacies left behind, whether musical, political, or legacies of social activism, are ones whose impacts we still see everywhere in American culture today. As a part of my personal project with the Living City Project, I led a walk around Harlem, looking at historical buildings, streets, and institutions, or at least where they once were, and discussing the important people, events and activities associated with those iconic sites. I started this project with an interest in the influential jazz scene of NYC in the early 20th century. As I began to study this, I came across Billie Holiday’s incredible art and life. Although Holiday wasn’t from New York, one of her most famous songs, “Strange Fruit,” was a product of the city’s writers and musicians at the time. The lyrics were written by a Jewish school teacher, Abel Meeropol, who originally wrote them as a poem. The song was heard being sung in Cafe Society by the floor manager at the time, who told the club’s founder, Barney Josephson. Josephson then invited Holiday to come to hear the song. From there, it became the iconic and deeply powerful song we know today. Billie performed it all over the world. It became one of her signature songs. I was equally as fascinated by Holiday’s relentless, fearless singing of the song, the national interest in hearing her sing it, and the federal government’s alarm at her performing the song. Furthermore, as I read more about her and her music, I began to understand how, in many ways, “Strange Fruit” was the catalyst for other protest songs of the 20th century. After beginning with an interest in NYC Jazz, and then Billie Holiday, I arrived at the Harlem Renaissance because of the way it aligned with what fascinated me about Billie. The Harlem Renaissance was also a meeting of civil rights activism, art, and the movement, and has had long-lasting effects on American culture, just as Holiday has. This is only a small sampling of some of these incredibly important and influential institutions and figures, and it is only a fraction of the information out there about this topic. There are many scholars and organizations who have delved deeper into some of these topics, and I encourage the viewer to look beyond this introduction if they're interested. I also recognize that I am a young white woman from out of town, and this is not my community in many senses. I created this walk in hopes of appreciating and better understanding the great cultural influence that many of the figures and institutions from The Harlem Renaissance have had on my own life as well as on the lives of many Americans to this day. Spotify playlist with all songs from the tour: Harlem Renaissance Walk. I chose to include this playlist because the music is what initially drew me to this topic, and I want the reader to get to experience it as well. In addition, sometimes with history, it is hard for the reader to completely feel and understand what was going on; I feel that music is a vivid, real way to gain even the slightest understanding of the moment they’re learning about, especially when discussing an artistic, musical movement. I would encourage the reader to either listen to the playlist before starting the tour, after doing it or both. At each stop, I have included which song from the playlist goes with the stop - I encourage the viewer to play these at each stop in addition to listening to the playlist all the way through.

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.

St. Aloysius Roman Catholic Church ca. 1908 It is possible to time-travel in Harlem simply by turning the corner from Seventh Avenue onto West 132nd Street and unexpectedly coming upon William W. Renwick's St. Aloysius's Roman Catholic Church. Built in 1904, following a journey of Renwick's to Italy, its scarlet doors and polychromed terra-cotta so convincingly evoke Italy's late medieval churches that the effect can be somewhat disorienting. The church was built for a primarily Irish congregation. Of particular note was the gold-framed window of yellow leaded glass in the nave, which produced a warm focal point in the space of quiet repose. The window's glow abruptly vanished when a tall apartment building was constructed on the next block.

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.

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.

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.

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.

There have been two Young Men’s Christian Association (YMCA) buildings on this street. The original, which was built in 1918-19, was the YMCA Building, West 135th Street Branch at 181 West 135th Street. In 1931-32, a new building was constructed across the street at 180 West 135th Street; still in use today as the Harlem YMCA, it was first known as the YMCA Building, 135th Street Branch. The original location at 181 West 135th Street was the successor to the “Colored Men’s Branch” of the YMCA, located on West 53rd Street (1901-19). African-American YMCAs were the result of the YMCA’s official policy of racial segregation, from the organization’s beginnings in the United States in 1851 until 1946. Though excluded from white YMCAs, African Americans were encouraged to form separate branches, which became autonomous community centers. As the African-American population of Harlem rapidly increased and this facility became overcrowded, a new 135th Street Branch YMCA (today’s Harlem YMCA) was constructed across the street from the earlier building. This new 135th Street Branch, partially funded by John D. Rockefeller, Jr., Julius Rosenwald (former president of Sears, Roebuck & Co.), and the Phelps-Stokes Fund, was called at the time of its completion the largest such facility for African-American men and boys, as well as one of the best-equipped YMCA buildings, in the country.

187 West 135th Street, 1931. Between 1925 and 1938, this apartment was the residence of Civil Rights activist James Weldon Johnson . Johnson could be described as a modern "Renaissance man" - he taught and practiced law, songwriting, poetry, as well as authored novels, and served as the United States consul in Venezuela and Nicaragua all before he was appointed head of the National Association of Colored People (NAACP). Johnson was born in Jacksonville Florida. While studying for the bar exam, Johnson was a schoolteacher and eventually served as the principal of the prestigious Stanton Preparatory School. In 1897, Stanton passed the bar making him the first African American admitted to the Florida Bar. Johnson opened a law practice in Florida while concurrently writing poetry and songs, which led him to New York in 1901 during the Great Migration. He moved to the city with his brother, John Rosamond Johnson, and together they authored around 200 songs (many of which were sung on Broadway.) While in New York, Johnson remained interested in law and thus, became involved in politics. He participated in Theodore Roosevelt's presidential campaign and when Roosevelt was elected, he served as consul to Venezuela in 1906 and to Nicaragua in 1913. During this time, he anonymously published his novel, "The Autobiography of an Ex-Coloured Man." By the 1920s, Johnson had become a leading voice of the Harlem Renaissance as a poet and songwriter. He began working for the National Association for the Advancement of Colored People (NAACP) in 1916 and by 1920 he was appointed executive secretary. Johnson lived in this house on 135th Street during his time as head of the NAACP, a position he held for ten years. In "Negro Americans, what now?" an essay published in 1934, Johnson writes the following: "Black America is called upon to stand as the protagonist of tolerance, of fair play, of justice, and of goodwill...White America cannot save itself if it prevents us from being saved." His home was designated a National Historic Landmark in 1976.

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.