Meet the [Harlem] Makers Series Enjoy 20% Off New Arrivals — One Night Only

Meet and talk with Teri Johnson about the inspiration behind the Harlem Candle Company brand and it’s luxury candles. Teri Johnson is also the creator, host, and executive producer of Travelista TV, an online video network with a focus on travel, culture, lifestyle and entertainment Bring your friends and enjoy after work wine, snacks and great music.

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Harlem Stage E-Moves 18

Behind the Scenes in Fashion: What You Really Need to Know

Our Five Favorite Comfort Food Dishes

Feeling in need of a little comfort. Our picks will take you back to grandma’s kitchen.  Warning: forget about your diet now.

1. Melba’s meatloaf


2. Minton’s mac and cheese


3. Charles’ Pan Fried Chicken


4. Sylvia’s catfish

5. Finish it all off with a chocolate cupcake from Make My Cake

REBNY Uptown Open House Expo 2017

House and apartment hunters interested in buying or renting their next home in Harlem, Washington Heights, or Inwood are invited to attend the 2017 Uptown Open House Expo on Sunday, May 21, 2017 hosted by the Real Estate Board of New York (REBNY), its Upper Manhattan Committee, and Experience Harlem.

This free, public event, sponsored by Chase Bank, provides a special opportunity for home seekers to conveniently view through a self-guided tour, cooperative, condominium, and townhouse listings being offered for sale exclusively through REBNY members. REBNY members will also show exclusive rental unit availabilities in new development properties with 10 units or more.

The #LiveUptown event, also supported by First Republic Bank and State Farm Insurance, will kick off in Harlem with a free breakfast and Meet & Greet information session from 10:00 to 11:30 a.m. at The Cecil (210 West 118th Street at the corner of St. Nicholas Avenue) where attendees will receive the Uptown Open House Expo Listings Packet and be able to ask questions to local brokers and financing representatives.

Attendees can also pick up the Listings Packet and Guide in Washington Heights at the State Farm Office (740 West 181st Street, between Ft. Washington Avenue and Magaw Place) from 11:30 a.m. to 1:00 p.m. on May 21st.


DOWNLOAD THE EXPERIENCE HARLEM APP from iTunes or Google Play to view all listings.

All listings will be shown from 12:00 to 4:00 p.m. on Sunday, May 21st. 

Please note listings are subject to change. Confirm availability at check-in or via this website and/or app the day of the event.







Welcome to Harlem’s Newest Community Space

Afropunk Takes Over Black History Month Uptown

—By Miles Marshall Lewis. Follow MML on Snapchat, Instagram and Twitter at @furthermucker

It’s appropriate that Afropunk the Takeover—Harlem (last week’s series of concerts, panel discussions and film screenings commemorating Black History Month) launched weeks after the 20th anniversary of Erykah Badu’s Baduizm. As a modern, progressive black arts movement, Afropunk stands squarely on the shoulders of what artist Pierre Bennu calls “the unscene” Brooklyn underground arts scene of the ’90s that launched Badu two decades back. Rock singer-songwriter Tamar-Kali’s Harlem Stage performance of her Demon Fruit Blues project and musical director Robert Glasper’s Unapologetically Black concert (featuring Jill Scott, Bilal, Toshi Reagon, Tunde Adebimpe and poet Staceyann Chin) at the Apollo Theater brought the mightiest musical muscle to Afropunk’s Takeover.

With both Geechee Goddess Hardcore Warrior Soul (2005) and Black Bottom (2010)—plus a longstanding international live-show career—already cementing her reputation, Tamar-Kali discovered a newfound spirit of collaboration with her latest effort. Incorporating dancers from the Brooklyn-based Àṣẹ Dance Theatre Collective (choreographed by artistic director Adia Whitaker) and stage direction from Ashley Brockington, Kali’s Demon Fruit Blues “explores and interrogates gender binaries, patriarchy and womanhood by examining the origins of misogyny.”

Fronting a six-piece band with a trio of guitarists, Tamar-Kali stormed through an anthemic suite of tracks (“Earth, Sky, Womb, Water,” “Necromancer,” “River Flows”) accompanied by the frenetic, fluid movements of neo-folkloric whirling dervishes. Though a work-in-progress documentary opened the performance, explaining heady connections to Yoruba deities and challenges to the so-called curse of womanhood in Judeo-Christian ideology, Demon Fruit Blues hit the Harlem Stage crowd where it counts the most: the heart, not the head. A panel discussion with Kali, Whitaker, Brockington and sex-positive feminist activist Feminista Jones concluded the show by connecting dots between black culture, western societal perceptions of the female body and the Orisha influences in recent work by Beyoncé and Tamar-Kali herself.

Black creativity in all its permutations rules the day when it comes to the current aesthetic of the Afropunk movement, and keyboardist-composer Robert Glasper’s wide-spanning sensibilities were on full display at the Apollo Theater’s Unapologetically Black: The African-American Songbook Remixed. Regarding that songbook, classics of Stevie Wonder, Sam Cooke, Nina Simone and Marvin Gaye were all accounted for. Originals like Jill Scott’s “Calls” (off Glasper’s Black Radio 2) turned the theater into a singalong call-and-response chorus.

The notorious Apollo audience was characteristically as unapologetically black as the namesake event. The tumultuous national mood of 2017’s Trump era has dampened some spirits even as it’s fired up the nationalism and militancy of others. The latter was on display during passionate covers of “Save the Children” (Marvin Gaye by way of Bilal) and “To Be Young, Gifted and Black” (Toshi Reagon channeling Nina Simone). The so-called alt-right politics of this American political moment has stirred increasing resistance from artists and communities alike; the incendiary, agitprop poetics of spoken-word superstar Staceyann Chin inspired fist-pumping and calls to resist. Bandleader Igmar Thomas’s Revive Big Band conducted swirling, jazzy backdrops behind Jill Scott’s cultural nationalist remix of “The Star-Spangled Banner” (“Oh say can you see/The blood in the streets…”), as she stood before an inverted American flag projection and railed against the system in the night’s most powerful moment.

In recent years, Afropunk’s annual Brooklyn-born music fest has migrated down south to Atlanta and expatriated over to Paris, France. Given last week’s exceptional jam sessions and discussions on art, identity and resistance, Afropunk should make its sojourn uptown a regular thing. All in all, Afropunk the Takeover—Harlem made for one of the most unapologetically black Black History Months in memory.

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