Picture this: the humble beginnings of a legendary icon, Nina Simone, are now being brought back to life in a way that honors her legacy and sparks hope for cultural preservation. It's an emotional revival that tugs at the heartstrings, reminding us all that history isn't just in textbooks—it's in the places where great figures like her first dreamed big dreams. But here's where it gets controversial... as federal actions seem to undermine efforts to celebrate Black contributions, this private restoration stands as a defiant act of remembrance. And this is the part most people miss: how a group of visionary artists turned a dilapidated house into a living testament to resilience, inviting us to reflect on what it truly means to protect our shared heritage.
For Dr. Samuel Waymon, Nina Simone's youngest brother, returning to the newly refurbished family home in Tryon, North Carolina, felt like a dream come true. On a crisp autumn day in 2025, the 81-year-old composer and award-winning musician reminisced about his childhood days, tinkling away on the organ and helping his mother prepare meals over the potbelly stove. The sight of the towering tree in the yard, unchanged since his youth, brought tears of joy. Simone, who was born Eunice Waymon, shared this modest 650-square-foot, three-room abode with her family from 1933 to 1937, during a time when the Great Depression shaped everyday life in profound ways.
After years of neglect, standing empty and falling into disrepair for over two decades, the house has been beautifully rejuvenated. It's now adorned with a fresh white exterior, blending modern touches with echoes of its past. Inside, a mint-blue wall features a shadow box displaying the original rust-brown varnish, and a fragment of Depression-era linoleum creates a nostalgic 'island' amidst the polished wooden floors. It's a thoughtful nod to history, making the space feel alive with memories.
Waymon shared his heartfelt reaction: 'It fills me with wonderful tears of joy in my heart and eyes as I stand there, on the porch, entering the rooms where the stove stands, thinking, "Wow, this is actually happening. The house is back." It's like traveling through time itself.'
In 2017, the property was purchased for $95,000 by a collective of four talented Black artists from Daydream Therapy LLC: contemporary artist Adam Pendleton, painter and sculptor Rashid Johnson, abstract artist Julie Mehretu, and collagist and filmmaker Ellen Gallagher. For them, this wasn't just a real estate deal—it was a powerful statement affirming that Black history deserves investment and care. This project launched at a pivotal moment, as experts in history and research note that the U.S. government appears to be scaling back on recognizing Black Americans' achievements. A recent presidential executive order has tasked Vice President JD Vance with halting funding for race-focused programs or exhibits at the Smithsonian Institution and its affiliates. This restoration of Simone's early home could exemplify how community-driven initiatives can safeguard cultural narratives when official support is waning. But here's where it gets controversial: is this executive order an attempt to 'sanitize' racism, as some historians claim, or a fair step toward unifying national stories? It's a debate that challenges us to question the balance between honoring diverse histories and fostering a shared American identity.
The full makeover wrapped up on September 1, following extensive planning and a fundraising campaign that raised nearly $850,000 for materials, construction, and engineering. Work kicked off in June 2024, overseen by the African American Cultural Heritage Action Fund (AACHAF), a nonprofit dedicated to protecting Black cultural sites. To put AACHAF into perspective for beginners, think of it as a guardian organization that helps preserve places significant to African American history, much like how historical societies protect landmarks elsewhere. Now, AACHAF is collaborating with consultants and the local Tryon community to develop a long-term plan for managing and programming the site. Their vision includes establishing a cultural district around the house, set to welcome tourists from 2027 onward.
Waymon expressed his delight in the preservation approach: 'I adore that they didn't demolish the core structure; they enhanced and revived it. So, when visitors enter, they can sense the spirit and energy from the past. If you believe in such things, you'd feel that Nina Simone—Eunice Waymon—was here. That's the thrill for me; it's incredibly potent.'
Tiffany Tolbert, AACHAF's senior director for preservation, emphasized the importance of valuing Black cultural sites equally. 'Preserving the birthplaces or childhood homes of these trailblazers, activists, and leaders in the African American community is crucial,' she explained. 'It ensures future generations grasp our roots, how these individuals evolved into the icons we admire, and the broader African American journey in America. Keeping this home intact and accessible for learning is vital, as it deepens our insight into the mid-20th-century African American experience.'
The inspiration behind this effort began in winter 2016 when Pendleton got a tip from a museum curator about the house's availability. He initially thought of others who might step up, but then reflected on the line from poet June Jordan's 'Poem for South African Women': 'We are the ones we have been waiting for.' 'I realized the person wasn't someone else—it was me,' Pendleton said. 'I saw it as a collective gesture, uniting artists to safeguard Nina Simone's childhood home for greater impact.' With advice from a fellow curator, he assembled a team, and Johnson, Mehretu, and Gallagher eagerly joined.
Upon purchasing the property the next year, Pendleton pondered what defines American culture and its representation. The house symbolized Simone's role in history. 'Our national culture and our position in it are shaped by memory,' he noted. 'Memory lives in people and art forms like paintings, sculptures, and, for Simone, her music. Her songs are not only artistically brilliant but also politically charged, as she was a staunch advocate for civil rights.' For beginners curious about Simone's influence, consider how her anthems like 'Strange Fruit' and 'Mississippi Goddam' became rallying cries against injustice, blending soulful melodies with bold activism to amplify the fight for equality.
Shortly after buying the home, Pendleton walked through it and felt its essence deeply. 'This is where Nina's story began, in this simple dwelling,' he thought. 'It hit me that everything originates somewhere.'
The artists partnered with AACHAF to craft a preservation strategy. In 2020, they secured a preservation easement—a legal tool that limits future alterations and protects against demolition, monitored by Preservation North Carolina, a nonprofit focused on historic safeguards. Architectural experts, working with AACHAF, mapped the original design by studying typical early-20th-century African American homes in North Carolina and referencing a vintage family photo. They used foundation and roof materials as clues to rebuild accurately, preventing further decay. The plan included fixing entrances, walls, floors, and adding an accessible ramp for inclusivity.
AACHAF has tackled similar projects, such as restoring jazz saxophonist John Coltrane's residences in Long Island, New York, and Philadelphia. They've also provided grants for jazz trumpeter Louis Armstrong's home in New York and blues legend Muddy Waters' house in Chicago. With Simone's home, Tolbert described it as a model for merging building preservation with educational programming. 'It fosters a deeper appreciation of these figures' legacies and how their communities molded them into artists and leaders,' she said.
Pendleton and the group have remained actively involved. In 2023, he teamed up with AACHAF and tennis star Venus Williams for an auction and fundraiser at New York's Pace Gallery, with additional support from the Mellon and Tejemos foundations. Currently, AACHAF and consultants are integrating the nearby East Side neighborhood—including St. Luke's CME Church, where Simone's mother Kate Waymon served as preacher—into future events. Pendleton envisions it as a hub for contemplation, where artists might compose music or perform, turning it into a catalyst for history.
If Nina visited today, Waymon believes she'd be astonished and thankful for the revival. As her last living sibling and a steward of her memory, he's releasing a new duet of 'Love Me or Leave Me' in mid-January 2026. Her 1967 recording blends with his recent additions, merging past and present. It's a temporal bridge, much like the restored home that transported him back in time.
As we wrap up, let's ponder this: In a world where official institutions might pull back from celebrating diverse histories, can grassroots efforts like this truly bridge the gap? And here's a controversial twist—some might argue that relying on private funding prioritizes celebrity over everyday stories, potentially widening divides. What do you think? Does this restoration inspire you, or do you see flaws in how we prioritize cultural preservation? Share your opinions in the comments—we'd love to hear your take!
