HARLEM: THE CULTURE CAPITAL
JAMES WELDON JOHNSON
In the history of New York, the significance of the name Harlem has changed from Dutch to Irish to Jewish to Negro. Of these changes, the last has come most swiftly. Through- out colored America, from Massachusetts to Mississippi, and across the continent to Los Angeles and Seattle, its name, which as late as fifteen years ago had scarcely been heard, now stands for the Negro metropolis. Harlem is indeed the great Mecca for the sight-seer, the pleasure-seeker, the curious, the adventurous, the enterprising, the ambitious and the talented of the whole Negro world; for the lure of it has reached down to every island of the Carib Sea and has penetrated even into Africa.
In the make-up of New York, Harlem is not merely a Negro colony or community, it is a city within a city, the greatest Negro city in the world. It is not a slum or a fringe, it is located in the heart of Manhattan and occupies one of the most beautiful and healthful sections of the city. It is not a "quarter” of dilapidated tenements, but is made up of new-law apartments and handsome dwellings, with well-paved and well-lighted streets. It has its own churches, social and civic centers, shops, theaters and other places of amusement. And it contains more Negroes to the square mile than any other spot on earth. A stranger who rides up magnificent Seventh Avenue on a bus or in an automobile must be struck with surprise at the transformation which takes place after he crosses One Hundred and Twenty-fifth Street. Beginning there, the population suddenly darkens and he rides through twenty-five solid blocks where the passers-by, the shoppers, those sitting in restaurants, coming out of theaters, standing in doorways and looking out of windows are practically all Negroes; and
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