Langston Hughes (1902-1967) was a child of the midwest–born and raised in Missouri, lived in Kansas and graduated from high school in Cleveland, Ohio. His parents divorced early; his father became a successful businessman in Mexico. Hughes’ maternal grandfather was the abolitionist, Charles Langston (see Sourcebook 3, Lesson 14).
Langston Hughes began studies at Columbia, dropped out, traveled widely, and began publishing short stories and poetry. He, along with other black intellectuals of the time, moved towards socialism and Marxism and published works taking that perspective. He wrote works for children and founded theater groups in several major cities, including Harlem, New York. Hughes has been described as “the most representative writer in the history of African American literature” and as “probably the most original of all black American poets.” (from The Norton Anthology of African American Literature, p. 1254)
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.
To see Shuffle Along was the main reason I wanted to go to Columbia. When I saw it, I was thrilled and delighted. From then on I was in the gallery of the Cort Theatre every time I got a chance. That year, too, I saw Katharine Cornell in A Bill of Divorcement, Margaret Wycherly in The Verge, Maugham’s The Circle with Mrs. Leslie Carter, and the Theatre Guild production of Kaiser’s From Morn Till Midnight. But I remember Shuffle Along best of all. 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.
Put down the 1920’s for the rise of Roland Hayes, who packed Carnegie Hall, the rise of Paul Robeson in New York and London, of Florence Mills over two continents, of Rose McClendon in Broadway parts that never measured up to her, the booming voice of Bessie Smith and the low moan of Clara on thousands of records, and the rise of that grand comedienne of song, Ethel Waters, singing: “Charlie’s elected now! He’s in right for sure!” Put down the 1920’s for Louis Armstrong and Gladys Bentley and Josephine Baker.
White people began to come to Harlem in droves. For several years they packed the expensive Cotton Club on Lenox Avenue. But I was never there, because the Cotton Club was a Jim Crow club for gangsters and monied whites. They were not cordial to Negro patronage, unless you were a celebrity like Bojangles. So Harlem Negroes did not like the Cotton Club and never appreciated its Jim Crow policy in the very heart of their dark community. Nor did ordinary Negroes like the growing influx of whites toward Harlem after sundowm, flooding the little cabarets and bars where formerly only colored people laughed and sang, and where now the strangers were given the best ringside tables to sit and stare at the Negro customers–like amusing animals in a zoo.
The Negroes said: “We can’t go downtown and sit and stare at you in your clubs. You won’t even let us in your clubs.” But they didn’t say it out loud–for Negroes are practically never rude to white people. So thousands of whites came to Harlem night after night, thinking the Negroes loved to have them there, and firmly believing that all Harlemites left their houses at sundown to sing and dance in cabarets, because most of the whites saw nothing but the cabarets, not the houses.
Some of the owners of Harlem clubs, delighted at the flood of white patronage, made the grievous error of barring their own race, after the manner of the famous Cotton Club. But most of these quickly lost business and folded up, because they failed to realize that a large part of the Harlem attraction for downtown New Yorkers lay in simply watching the colored customers amuse themselves. And the smaller clubs, of course, had no big floor shows or a name band like the Cotton Club, where Duke Ellington usually held forth, so, without black patronage, they were not amusing at all.
Some of the small clubs, however, had people like Gladys Bentley, who was something worth discovering in those days, before she got famous, acquired an accompanist, specially written material, and conscious vulgarity. But for two or three amazing years, Miss Bentley sat, and played a big piano all night long, literally all night, without stopping–singing songs like “The St. James Infirmary,” from ten in the evening until dawn, with scarcely a break between the notes, sliding from one song to another, with a powerful and continuous underbeat of jungle rhythm. Miss Bentley was an amazing exhibition of musical energy–a large, dark, masculine lady, whose feet pounded the floor while her fingers pounded the keyboard–a perfect piece of African sculpture, animated by her own rhythm.
But when the place where she played became too well known, she began to sing with an accompanist, became a star, moved to a larger place, then downtown, and is now in Hollywood. The old magic of the woman and the piano and the night and the rhythm being one is gone. But everything goes, one way or another. The ’20’s are gone and lots of fine things in Harlem night life have disappeared like snow in the sun–since it became utterly commercial, planned for the downtown tourist trade, and therefore dull.
The lindy-hoppers at the Savoy even began to practise acrobatic routines, and to do absurd things for the entertainment of the whites, that probably never would have entered their heads to attempt merely for their own effortless amusement. Some of the lindy-hoppers had cards printed with their names on them and became dance professors teaching the tourists. Then Harlem nights became show nights for the Nordics.
Some critics say that that is what happened to certain Negro writers, too–that they ceased to write to amuse themselves and began to write to amuse and entertain white people, and in so doing distorted and over-colored their material, and left out a great many things they thought would offend their American brothers of a lighter complexion. Maybe–since Negroes have writer-racketeers, as has any other race. But I have known almost all of them, and most of the good ones have tried to be honest, write honestly, and express their world as they saw it.
All of us know that the gay and sparkling life of the so-called Negro Renaissance of the ’20’s was not so gay and sparkling beneath the surface as it looked. Carl Van Vechten, in the character of Byron in N***** Heaven, captured some of the bitterness and frustration of literary Harlem that Wallace Thurman later so effectively poured into his Infants of the Spring–the only novel by a Negro about that fantastic period when Harlem was in vogue.
Source: reprinted in Lewis, David Levering. The Portable Harlem Renaissance Reader. NY: Penguin Books, 1994.