Sarah Silverman, Jamie Lee Curtis and Michael Rapaport are among those in Hollywood and the larger entertainment and media industry responding to a recent tweet from Kanye West repeatedly labeled antisemitic by the American Defamation League and others.

In a tweet featuring West’s now-removed Twitter statement, which he posted Saturday night (Oct. 8), Curtis told the rapper that his “words hurt and incite violence.”

Related

“The holiest day in Judaism was last week. Words matter. A threat to Jewish people ended once in a genocide,” she wrote. “You are a father. Please stop.”

Comedian Sarah Silverman addressed what she describes as silence from those outside the Jewish community following West’s statements. “Kanye threatened the Jews yesterday on twitter and it’s not even trending,” she wrote. “Why do mostly only Jews speak up against Jewish hate? The silence is so loud.”

Actor and comedian Michael Rapaport addressed his previous defenses of West during his public spat with Pete Davidson while calling the rapper a “creep” and arguing that he’s pushing the same rhetoric as U.S. Rep. Marjorie Taylor Green and those who attended the Unite the Right rally in Charlottesville.

The Black-Jewish Entertainment Alliance denounced the rapper’s comments as “hurtful, offensive and wrong. They perpetuate stereotypes that have been the basis for discrimination and violence against Jews for thousands of years. Words like this tear at the fabric of the Black-Jewish relationship. The Black and Jewish communities must stand together through incidents like this to make clear that trafficking in hateful stereotypes is unacceptable — and that the words of one entertainer do not reflect the views of an entire community.”

Meanwhile, the Creative Community for Peace also condemned his remarks. “In the past week, Ye has spread some of the most vile and age-old stereotypes about Jews to his hundreds of millions of followers,” the organization said. “There should be no place for this kind of hate in our public discourse. We support every entertainer’s right to free speech, but no one has a free pass to target and demonize a minority group with such malice. We are gravely concerned about the impact of Ye’s statements — and how they will affect his fans, particularly young people. At the same time, we hope this can be a moment that ultimately creates better awareness about the dangers of antisemitism for Ye, his fans, and other entertainers. We remain open to dialogue with him about how harmful and fallacious his comments are.”

The comments follow Twitter removing Ye’s tweet on Saturday for violating the platform’s rules after the rapper wrote that he was going to go “death con 3 On JEWISH PEOPLE.”

“The funny thing is I actually can’t be Anti Semitic because black people are actually Jew also You guys have toyed with me and tried to black ball anyone whoever opposes your agenda,” he ended the tweet.

Under Twitter’s rules, hateful conduct, or the promotion of violence against, threats or harassment of other people on the basis of several identity-related factors, including race, ethnicity, national origin and religious affiliation, is prohibited in tweets, but also images and handles.

The Hollywood Reporter has reached out to Twitter for comment on West’s violation.

The comment followed Meta’s removal of Instagram posts by West for violating that platform’s policies after he posted text messages between him and fellow rapper P. Diddy claiming he would “show the Jews that told you to call me that no one can threaten or influence me.”

A spokesperson with Meta confirmed to THR that the company had deleted content from the @kanyewest handle, the rapper’s official Instagram account. While it’s still visible, the account has been restricted. Meta applies its restriction policy following users’ repeated violations and can temporarily prevent them from sharing posts, writing comments or sending direct messages.

While it’s not clear which rule the tweet or Instagram post violated, they — published around the same time as West’s controversial Tucker Carlson interview — have been labeled bigoted and antisemitic by a number of entities beyond Hollywood, including the ADL, which addressed West’s comments on two separate occasions this past week.

“Power. Disloyalty. Greed. Deicide. Blood. Denial. Anti-Zionism. All of these are antisemitic tropes,” the ADL’s Sunday statement reads. “Many of these myths have influenced @KanyeWest’s comments recently, and it’s dangerous.”

On Friday, the American Defamation League also responded to earlier comments made by the rapper and his decision to wear a White Lives Matter shirt.

“The behavior exhibited this week by @kanyewest is deeply troubling, dangerous, and antisemitic, period. There is no excuse for his propagating of white supremacist slogans and classic #antisemitism about Jewish power, especially with the platform he has,” the organization tweeted on Oct. 7

Updated 5:24 p.m. Sunday, Oct. 9: Added statements from the Black-Jewish Entertainment Alliance and the Creative Community for Peace.

This article originally appeared on The Hollywood Reporter.

Paramount is grinning widely this weekend as its creepy pic, Smile, continued to stay atop the chart in its sophomore outing with a projected gross of $17.6 million from 3,659 theaters. That’s a decline of just 22 percent, one of the best holds of all time for the horror genre.

The news was just as good overseas. Smile earned $17.5 million from 61 markets for a foreign tally of $40 million and a global haul of $88.9 million to make the $17 million a major profit generator.

Smile earned more than enough to beat Sony’s new family film Lyle, Lyle, Crocodile, which opened to an estimated $11.5 million domestically. Sony expects the movie to benefit from the Indigenous Peoples’ Day holiday on Monday and earn a total of $13.4 million through Monday.

Heading into the weekend, most of Hollywood expected Lyle, Lyle, based on the kids book of the same name, to win the three-day frame, even if narrowly. The film presently has a 68 percent critics score on Rotten Tomatoes and earned an A- CinemaScore from audiences.

Related

The bomb of the weekend is David O. Russell’s star-packed film Amsterdam. The mystery-comedy opened to an estimated $6.5 million from 3,005 locations after getting skewered by critics. It currently rests at a 33 percent critics score on Rotten Tomatoes, one of the lowest of the filmmaker’s career, along with stars Christian Bale, Margot Robbie and John David Washington. Audiences gave it a somewhat better ranking of a B CinemaScore.

Amsterdam is a New Regency film distributed by Disney. As reviews started coming in, tracking lowered its projection to $10 million, since the film’s target audience — older adults, and especially older females — are more swayed by critics. However, even $10 million proved to be bullish.

Universal, which made Bros, wasn’t left entirely bereft. Overseas, the studio’s George Clooney-Julia Roberts romantic-comedy Ticket to Paradise crossed the $60 million mark ahead of its domestic debut on Oct. 21.

At one point, box office analysts and exhibitors believed that Lyle, Lyle and Amsterdam could both open in the mid-teens.

The Woman King and Don’t Worry Darling rounded out the top five, followed by the Avatar rerelease.

Sony and eOne’s Woman King placed No. 4 with $5.3 million for a domestic total of $54.1 million. The movie’s early foreign total is $10 million, including $1.5 million from its opening in the U.K., where eOne is distributing.

Warner Bros.’ Don’t Worry Darling followed with $2.5 million for a domestic total of $38.5 million and global cume of $69.3 million.

The 3D rerelease of James Cameron’s Avatar continued to wow, earning $2.6 million for a domestic total of $23.3 million. All told, the release from Disney and 20th Century has grossed $71.9 million globally.

Unlike SmileBros was hardly happy in its second weekend. The gay rom-com, directed by Nicholas Stoller and co-written by Billy Eichner, tumbled to No. 6 or No. 7 with an estimated $2.2 million for a 10-day domestic total of $8.9 million (the film fell a hefty 55 percent). Eichner took to Twitter last weekend after the film’s fifth-place opening to say that homophobia was a major reason for the poor showing before encouraging everyone to see the film.

Elsewhere, the awards box office gets underway in earnest as Todd Field’s Tár and Ruben Ostlund’s Palme d’Or winner Triangle of Sadness open in select theaters to promising numbers.

From Focus Features and starring Cate Blanchett, Tár posted the top location average of the weekend and one of the best of the year, or $40,000, as it launched in four theaters in New York and Los Angeles. It was No. 1 in three of the cinemas, including the AMC Lincoln Square in New York and the AMC Grove in L.A.

Triangle of Sadness, from Neon, opted for a wider opening footprint, or 10 locations. The Woody Harrelson-starrer posted a location average of $21,007.

This article originally appeared on The Hollywood Reporter.

Shakira and Ozuna have teamed up for a new song, “Monotonía.”

“Monotonía” will be released on Oct. 19, the singer revealed on Sunday (Oct. 9) on her official social media accounts, where she posted a brief sound clip and an image of the song title atop a heart being stabbed with a dagger.

“Un pequeño rey con una súper reina,” Ozuna commented on Shakira’s Instagram post Sunday afternoon.

Earlier this week, Shakira — who confirmed her split with Spanish soccer player Gerard Piqué a few months ago, and said recently that she was going through “the most difficult, darkest hours of my life” — had teased new lyrics on Instagram: “No fue culpa tuya/ Ni tampoco mía/ Fue culpa de la monotonía,” (“It wasn’t your fault/ Nor Mine/ It was the fault of monotony.”)

Related

“Monotonía” will be the Colombian superstar’s follow-up to “Te Felicito” with Rauw Alejandro, which topped the Billboard Latin Airplay chart and also reached No. 1 on the Billboard Argentina Hot 100 chart. It peaked at No. 10 on the Hot Latin Songs chart.

See Shakira’s announcement below.

On Friday night, State Attorney Katherine Fernandez Rundle and Miami Police Chief Manuel A. Morales announced the arrest of 24-year-old James Calvin Velazquez in relation to the homicide of 85-year-old … Click to Continue »

While it hasn’t been officially confirmed that Lady Gaga will play Harley Quinn in Todd Phillips’ Joker: Folie à Deux, it’s definitely possible — and Margot Robbie is fully onboard with that potential casting.

Robbie, who most recently played Quinn in 2021’s The Suicide Squad, has portrayed the former Arkham Asylum psychiatrist since 2016’s Suicide Squad and said she’d be “so happy” if Gaga took on the role in the Joker sequel.

“It makes me so happy because I said from the very beginning is all I want is for Harley Quinn to be one of those characters, the way, like, Macbeth or Batman always gets passed, you know, from great actor to great actor,” Robbie said during a recent interview with MTV News.

She continued, “It’s kind of like someone gets to do their Batman, or someone gets to do their Macbeth or someone, you know? And I feel like in not so many cases are there female characters.” Robbie explained that one of the few female characters that has gotten passed on to other actors is Queen Elizabeth I, but there aren’t many beyond that.

“It’s such an honor to have built a foundation strong enough that Harley can now be one of those characters that other actors get to have a go at playing,” Robbie said of Gaga potentially portraying Quinn. “I think she’ll do something incredible with it.”

Gaga hasn’t yet been confirmed to be playing Quinn in Joker 2 opposite Joaquin Phoenix’s Clown Prince of Crime. But the supervillain is known for his on-and-off abusive relationship with Quinn, his former psychiatrist who falls in love with him and becomes his partner in crime.

If Gaga is to take on the role in Phillips’ sequel, her version of the character would exist in a different DC Universe than Robbie’s does, leaving space for both actresses to play the psychiatrist-turned-criminal in separate films.

Brendan Gleeson, Catherine Keener and Jacob Lofland round out the cast of Joker: Folie à Deux, which is set to hit theaters on Oct. 4, 2024. 

This article originally appeared on The Hollywood Reporter.

You may know Bono as the lead of one of the greatest rock bands of all time, U2, but the rock star is so much more than that. The 62-year-old Irishman is activist in the fight against AIDS and campaigns for Africa while being a 22-time Grammy Award-winning artist.

A man known for his social justice philanthropy and unique voice, Bono kick-started the night at the New Yorker Festival on Friday (Sept. 7) with a performance of “With or Without You,” “City of Blinding Lights,” and “Vertigo.”

Then ahead of the release of his debut book, Surrender: 40 Songs, One Story, in November, Bono chatted with renowned New Yorker journalist David Remnick to discuss the upcoming memoir about his life. He spoke of the loss of his mother, how he came up with the name of the book, his bandmates reading the book, U2 almost breaking up and more.

Related

Here are six major takeaways from the conversation between Bono and Remnick ahead of his memoir release.

Losing his mother made him turn to music

For his upcoming memoir, Surrender: 40 Songs, One Story, Bono recalls his mother, Iris Hewson, dying from a brain aneurysm four days after collapsing at the funeral of her father, Gags Rankin, in 1974. The U2 frontman, who was just 14 years old, turned to music to cope with the heartbreaking death.

“It turned into a gift. This wound in me just turned into this opening where I had to fill the hole with music, and it’s a very unscientific theory I have. But, I do think that in someone you love passing, there’s sometimes a gift,” he said.

The meaning behind the name ‘Surrender’

The 62-year-old noted that “surrender” is an essential word for him that doesn’t come naturally.

“I still find it hard to surrender to my bandmates,” the Rock and Roll Hall of Fame artist said. “As an older person, it gets even harder to surrender to my wife, to surrender to my maker. I’m a defiant character, but I’m working on that, David. That’s why I wrote the book.”

Did his band members see the book ahead of time?

Bono revealed that bandmate Adam Clayton had a few things to say about his upcoming book. “He thought I have drawn him a little bit as a caricature,” Bono said.

When Remnick asked him if he was right, Bono replied: “For a few reasons. Maybe I didn’t want to fill in some details because I thought that might be too personal for him. It was my memoir.”

“And he also was saying, ‘It’s not enough about music, Bono.’ And I said, ‘Well, you know, it’s not just a music memoir. I wanted to give people a view that my life as an artist, my life as an activist, my life as a hooligan, my life as a husband, my life as a father [are] all the same to me. It was all part of the same creative canvas,’” Bono continued.

“It’s not a traditional rock and roll memoir in that sense,” he said. “And it’s a love story; it’s a pilgrimage. The pilgrim’s lack of progress would be a better title.”

U2 almost broke up because of a spiritual crisis

During the conversatio, Remnick asked Bono about when David “The Edge” Evans, lead guitarist and backing vocalist of U2, was having a spiritual crisis and was about to leave the group.

Bono replied that the pair were in a non-denominational school (Edge and Bono went to school together at Mount Temple Comprehensive School). They weren’t pushing religion down their throats, yet they had profound faith.

“We meet this — I suppose you call them first-century radical Christians, kind of punks. And you know, they didn’t need many material things. They were very strict in that sense,” said Bono. “And we first thought they accepted us for being who we were. After a while, they started to get in on us. ‘Maybe this music thing is — you should just put that down. And if the world is broken, really, and it’s really broken. And if you want to be part of the fixing of it, maybe music is something you should just put away and sing these praise songs.’”

Bono continued that he and The Edge started believing these people, and that his fellow bandmate felt terrible. “He rings me up and says, ‘I don’t think I can resolve this.’ I said, ‘Well, yes, I’m having some problems with this, too. I want to be useful. I want to be useful in my life, and I want to be useful to the world. The world is, you know, f—.’”

Larry Mullen Jr., drummer and co-founder of U2, also was on board with The Edge and Bono. The fourth band member, Clayton, then introduced the group to a “quite posh manager” named Paul McGuinness. The band just had success with their debut album, Boy. “We go and tell him that it was all over. So, he was sitting there, and we walked in, and Paul said, ‘So, you’ve been speaking to God?’ And we’re like, ‘Yeah. Yeah.’ ‘And God has told you that you don’t want to be in the band? Like, you want to break up the band?’ ‘Well, in a manner of speaking, yes.’ ‘Okay. So you’ve been speaking to God, and how’s God on legal contracts? Because I’ve signed a legal contract here.’ And we were, just completely, ‘Oh, maybe we didn’t hear that right,’” Bono recounted the story as the crowd burst into laughter.

The band returned to the road, but The Edge was still not resolved. Bono then got married to his wife, Ali Hewson. With the two away on a Jamaica trip, The Edge began to write a song he believed would solve the problem, and that song was called “Sunday Bloody Sunday.” Bono noted that you could hear the Jamaican influence at the beginning of the track thanks to the late and great Bob Marley.

“That’s the reason why Chris Blackwell [founder of Island Records] didn’t throw us off Island Records because we’d made a mad religious album. It wasn’t mad at all, but people were calling it mad,” said Bono. “It’s because he said he was used to dealing with Bob Marley. And Bob Marley wanted to sing to God. Bob Marley wanted to sing to girls. Bob Marley wanted to sing to the world around him and protest it. So there it was, a three-cord strand that became U2, and that started with Edge on ‘Sunday Bloody Sunday.’”

Writing the book was therapeutic

When asked if writing Surrender was therapeutic for him, Bono said that the gift he received from writing this memoir was “time on my own.”

“And it gave me a reason to shut up and listen,” he continued. “Also, I’m such a shy typist that when I talk, I talk too quickly, and I sort of throw the paint at the canvas. So when I’m writing and typing, I have to slow down my thoughts, and they make more sense of me, and I make more sense of them.”

The secret behind 40 years of marriage

The secret behind Bono and Ali’s 40-year-marriage is pretty simple: friendship.

“Friendship can outpace romantic love, sometimes. And friendship is what myself and Ali have,” said Bono. “But I don’t want to give you the impression that everything was easy for us. But any time either of us got lost, the other would be there to get the other home. And I’m so grateful,” he concluded.

Surrender: 40 Songs, One Story is set to release on Nov. 1.

“The only thing I want to do is create platforms for people who have something to say.”

So noted Charlamagne Tha God while accepting the Living Legends Foundation’s Jerry Boulding Radio Executive Award. The co-host of WWPR (Power 105) New York’s syndicated show The Breakfast Club, multimedia entrepreneur and best-selling author was the first of eight honorees saluted at the foundation’s 30th anniversary awards gala, held Friday evening (Oct. 7) at the Taglyan Complex in Hollywood.

Crediting various mentors in his career, such as iHeartMedia’s Thea Mitchem and Bob Pittman, Frankie Crocker and Tom Joyner, plus his wife (“Strong men are secure enough to get out of the way and let strong women lead” he said, followed by hearty applause), Charlamagne implored the audience to “ask yourself every day who have you helped or empowered to help people be the best versions of themselves.” That sentiment echoed throughout the three-hour ceremony that saw Cash Money Records co-founders/co-CEOs Bryan “Birdman” Williams and Ronald “Slim” Williams presented with the Lifetime Achievement Award.

Before the presentation, producer Polow da Don paid homage to the brothers: “They represent and give voice to people in the trenches.” In a taped message, Baby and Slim thanked their various mentors as well, including former Universal Records GM/exec. vp Jean Riggins, who gave Cash Money its start. “She took a liking to us, stuck with us and taught us how to work the system,” related Baby. “Our long journey is still going. We’re going to keep pushing because we like to change lives.”

One of the evening’s more emotional moments occurred when Sharon Heyward received the A.D. Washington Chairman’s Award for a groundbreaking career, whose highlights include tenures as Virgin Records’ head of urban promotion and later senior vp/GM of its urban division, president of production duo Jimmy Jam and Terry Lewis’ Perspective Records and founder of marketing/consulting firm Sharon Heyward Enterprises (SHE).

Her longtime industry colleagues and friends David C. Linton and Ray Harris, LLF’s president and chairman emeritus, respectively, presented the award to Heyward, who currently owns and operates industry mentorship firm The Solutionist LLC. “I’m a hard-nosed, straight-no-chaser girl,” said a visibly emotional Heyward as she accepted the evening’s last award. “One of the biggest legacies of my career are the mentees and others telling me how much I’ve helped in their careers.” She also took naysayers to task for dismissing the industry’s older generation as “dusty.”

“That shows no respect for the legacy that’s been given to you,” she added. “We need to have respect for each other; to reach back and bring forward.” Joined onstage by her daughter Monique, who also works in the music industry, Heyward played snippets of the Impressions’ hits “Keep on Pushing” and “I’m So Proud” before concluding, “The record business is no joke for women. I didn’t want my daughter Monique in this but I’m so proud of her … and [to the audience] thank you for letting me be a mentor to some of you.”

The LLF also paid tribute to five additional honorees:

Media Icon Award – Curtis Symonds, founding partner/president & CEO of 24-hour streaming network HBCUGO TV

Music Executive Award – Geo Bivins, industry veteran (Jive Records, Capitol and RCA); now president/founder of record label consulting firm Port Perry Entertainment

Digital Executive Award – Tuma Basa, director of Black music & culture, YouTube

Mike Bernardo Female Executive Award – Johnnie Walker, first female senior vp/promotion for Def Jam Recordings; now founder/CEO of the National Association of Black Female Executives in Music & Entertainment Inc. (NABFEME)

Founders Award – Henry “Hank” Caldwell, veteran industry senior executive (WEA, Cotillion, Atlantic, SOLAR Records, Epic and Death Row Records)

Hosted by syndicated radio personality DeDe McGuire (DeDe in the Morning) with musical interludes helmed by DJ Battlecat, the evening marked the Living Legends Foundation’s first in-person awards ceremony in three years owing to the pandemic. Among the distinguished guests and presenters on hand for what ultimately transitioned into a huge industry family reunion were Epic Records chairwoman/CEO Sylvia Rhone, artists P.J. Morton and Johnny Gill (Caldwell’s presenter) and talk show host/author Tavis Smiley.

“We are stronger when we all work together,” said LLF’s Linton during his opening remarks following the invocation by Rev. Marilyn Batchelor. “Our mission is to keep moving the culture forward. Tonight is your night!”

Ari Lennox is putting herself first. Last month, the DMV native released her sophomore album, age/sex/location, after amassing incredible success with the project’s first single and Hot 100 hit, “Pressure.” The 12-track effort highlights Lennox’s liberating road to self-care and is an entrancing listen for R&B lovers and hapless romantics. 

“It’s a beautiful thing being single,” Lennox says in her latest Billboard News interview. “Dating is hard. I feel like it’s really responsible to make sure that I’m taking care of myself mentally before I decide to embark on any relationships. So I’ve just been focusing on self-love and pouring into myself.” 

Lennox admits that her boundless attempts at romance derailed her from focusing on the true love of her life: herself. “First, it’s about moving with intention and being more aware of what you’re doing, not just aimlessly, mindlessly moving around,” she says. Songs like “POF” and “Waste My Time” detail a renewed Lennox pouring into herself more and learning to stay accountable on the dating scene. “I’m also aware that there’s a lot going on inside, which would make me drawn to the red flags or terrible dates,” she says matter-of-factly. “I recognize that “POF” doesn’t have that much accountability.”

After stitching together her acclaimed debut album, Shea Butter Baby, in 2019, Lennox has bloomed into a surefire star in R&B and soul alongside her sister-in-arms, Summer Walker. The vivacious twosome first paired up on Walker’s 2021 “Unloyal” before linking back on Lennox’s newest record, “Queen Space.” 

“Summer is that girl,” Lennox says. “Summer is an IT Girl. She is modern R&B and phenomenal. [She’s] literally leading and phenomenal at it. I’m just honored that she always showed me love. We reached out to her, and ‘Queen Space’ felt incomplete until Summer sent that verse in. [It] changed my life. Cole came in and helped me add a beautiful pre-chorus that wasn’t there and made me fall in love with the record all over again.”

Watch her full interview with Billboard News in the video above.

Kanye West is back on Twitter after being restricted by Instagram.

Related

The 45-year-old rapper and fashion mogul, who now goes by Ye, returned to Twitter after a nearly two-year absence on Friday (Oct. 7) to call out Meta CEO Mark Zuckerberg for placing a hold on his Instagram account.

Ye was recently restricted by the Meta-owned social media platform after he made posts that some groups are considering “anti-Jewish,” NBC News reports. Instagram deleted content from Ye’s page and placed a restriction on his account because he violated the company’s rules and guidelines, a Meta spokesperson told the news outlet.

“Look at this Mark,” Ye captioned his tweet on Friday, which included a snapshot of himself standing alongside Zuckerberg. “How you gone kick me off instagram. You used to be my n—-.”

Billboard has reached out to Meta for further comment.

Meta did not specify to NBC News what content was removed from Ye’s Instagram page, or explain what content violated its rules. But the company’s decision arrives after a now-deleted post from Friday in which Ye shared a screenshot of a text message exchange with Sean “Diddy” Combs, which included the caption “Jesus is Jew.”

“This ain’t a game,” Ye wrote in the text to Diddy. “Ima use you as an example to show the Jewish people that told you to call me that no one can threaten or influence me. I told you this was war. Now gone get you some business.”

The combative back-and-forth between the hip-hop icons stemmed from Ye’s decision to wear a “White Lives Matter” shirt during his Yeezy Season 9 fashion show. Earlier in the week, Diddy also shared an Instagram video about the controversial tee.

The American Jewish Committee (AJC) took to social media on Friday to speak out against Ye’s recent remarks, which they called “anti-Jewish.” “These posts are dangerous,” the anti-hate group captioned a video on Instagram. The clip states that the Ye was using “anti-Semitic tropes like greed and control,” alluding to the rapper’s interview with Fox News’ Tucker Carlson and his Instagram post.

On Friday, Ye also tweeted a photo of a black baseball cap with with the year “2024” emblazoned in white letters across the bill, echoing his last post from November 2020, when the rapper ran for president of the United States. “KANYE 2024,” reads the nearly two-year-old tweet, which features Ye’s silhouette amid an election map.

In 2014, Oct 13 was officially designated “Lancelot Jones Day” by the State of Florida. A year before, the Jones Family District was listed on the National Register of Historic … Click to Continue »