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When the Negro Was in Vogue

Selected Comments by

Langston Hughes and Wallace Thurman

Langston Hughes on Shuffle Along
The 1920's were the years of Manhattan's black Renaissance. It began with Shuffle Along, Running Wild, and the Charleston. Perhaps some people would say even with The Emperor Jones, Charles Gilpin, and the tom-toms at the Provincetown. But certainly it was the musical revue, Shuffle Along, that gave a scintillating send-off to that Negro vogue in Manhattan, which reached its peak just before the crash of 1929, the crash that sent Negroes, white folks, and all rolling down the hill toward the Works Progress Administration.

Shuffle Along was a honey of a show. Swift, bright, funny, rollicking, and gay, with a dozen danceable, singable tunes. Besides, look who were in it: The now famous choir director, Hall Johnson, and the composer, William Grant Still, were a part of the orchestra. Eubie Blake and Noble Sissle wrote the music and played and acted in the show. Miller and Lyles were the comics. Florence Mills skyrocketed to fame in the second act. Trixie Smith sang "He May Be Your Man But He Comes to See Me Sometimes." And Caterina Jarboro, now a European prima donna, and the internationally celebrated Josephine Baker were merely in the chorus. Everybody was in the audience--including me. People came back to see it innumerable times. It was always packed. . . . When I saw it, I was thrilled and delighted. . . . It gave just the proper push--a pre-Charleston kick--to that Negro vogue of the 20's, that spread to books, African sculpture, music, and dancing.

From The Big Sea by Langston Hughes (New York: Hill and Wang, 1940)

[pic]

[pic]
Cotton Club Program (1920s).

Langston Hughes on Whites in Harlem

White people began to come to Harlem in droves. For several years they packed the expensive Cotton Club on Lenox

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