NEW NEGRO
The Harlem Renaissance and the Black Cultural Revolution, 1919-1935By David Marcus Wheeler
Length6h 39m
About this audiobook
**In 1920, an entire people stood up and declared: our lives are worth celebrating, our culture has value, we are fully human and capable of anything.** Today that sounds obvious. Back then, it was revolutionary — and it exploded out of a few square miles of upper Manhattan.
You've heard of the Harlem Renaissance. Maybe a name or two — Langston Hughes, Duke Ellington. But the textbook shrinks one of the most electrifying cultural explosions in history into a single paragraph, draining out the music, the genius, the politics, and the people who made it happen. You sense it mattered enormously — to American culture, to Black identity, to the music and literature you love today — but you've never had the full story. Until now.
**NEW NEGRO: The Harlem Renaissance and the Black Cultural Revolution, 1919–1935** drops you straight into Harlem at its blazing peak — the rent parties, the jazz clubs, the poetry, and the fierce debates over the future of Black America.
**Inside, you will discover:**
* **HOW** the Great Migration set the stage for the Harlem Renaissance and a new Black metropolis
* **WHO** the giants really were — Langston Hughes, Zora Neale Hurston, Duke Ellington, Bessie Smith, and more
* **WHAT** "the New Negro" meant — and how Alain Locke, Du Bois, and Marcus Garvey fought over it
* **HOW** jazz and the blues conquered America from the stages of the Cotton Club
* **WHY** the Black cultural revolution still shapes American music, literature, and identity today
This isn't a dusty lecture. It's the Harlem Renaissance brought roaring back to life.
The revolution happened here. Step inside.
**Scroll up and click "Buy Now" to begin NEW NEGRO today.**
Audiobook details
GenreLiterary Classics, General Fiction, Romance
Length6 hrs 39 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
LanguageEnglish
Table of contents
1Introduction
20Chapter 13: Alain Locke and 'The New Negro' — Defining the Renaissance
2Author’s Note
21Chapter 14: Marcus Garvey — Black Nationalism, the UNIA, and the Return to Africa
3Prologue: Up from the South
22Chapter 15: W.E.B. Du Bois and the NAACP — Integrationist Politics in the Jazz Age
4PART ONE: THE WORLD THAT MADE HARLEM (1900-1919)
23Chapter 16: A. Philip Randolph — Labor, Socialism, and Black Economic Rights
5Chapter 1: The Great Migration — Southern Black America Moves North
24PART FIVE: HARLEM'S LIFE
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6Chapter 2: Harlem Transforms — From White Neighborhood to Black Metropolis
25Chapter 17: The Rent Party — Black Social Life and the Economics of Harlem
7Chapter 3: World War I and Black America — The Double V Before Its Name
26Chapter 18: Harlem's Women — Gender, Race, and the Renaissance's Unsung Voices
8Chapter 4: The Red Summer of 1919 — Race Riots and the New Militancy
27Chapter 19: The White Fascination — Primitivism, Patronage, and Cultural Appropriation
9PART TWO: THE LITERATURE OF THE RENAISSANCE (1920-1935)
28Chapter 20: The Church in Harlem — Religion and Community in Black New York
10Chapter 5: Langston Hughes — The Poet Laureate of Black America
29PART SIX: LEGACIES
11Chapter 6: Zora Neale Hurston — Folklore, Anthropology, and Black Southern Life
30Chapter 21: The Depression Ends the Renaissance — What the Crash Took Away
12Chapter 7: Claude McKay, Jean Toomer, and the Modernist Tradition
31Chapter 22: The Renaissance's Influence — Black Arts After 1935
13Chapter 8: The Literary Magazines — The Crisis, Opportunity, and the Print Culture
32Chapter 23: Harlem Today — Memory, Gentrification, and the Neighborhood's Meaning
14PART THREE: MUSIC, ART, AND PERFORMANCE
33Chapter 24: The Renaissance's Place in American Culture — Literature, Music, and Identity
15Chapter 9: Jazz Comes to Harlem — Duke Ellington and the Cotton Club
34Epilogue: The Harlem That Was
16Chapter 10: The Blues — Bessie Smith and the Female Voice of Black Music
35Acknowledgments
17Chapter 11: The Visual Artists — Aaron Douglas and the Aesthetics of the Renaissance
36Selected Bibliography
18Chapter 12: Theater and Dance — Black Performance and the White Audience
37About the Author
19PART FOUR: POLITICS AND IDEOLOGY
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