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African-American musicians and other performers also played to mixed audiences. Harlem's cabarets and clubs attracted both Harlem residents and white New Yorkers seeking out Harlem nightlife. Harlem's famous [[Cotton Club]], where [[Duke Ellington]] performed, carried this to an extreme, by providing black entertainment for exclusively white audiences. Ultimately, the more successful black musicians and entertainers who appealed to a mainstream audience moved their performances downtown.
Certain aspects of the Harlem Renaissance were accepted without debate, and without scrutiny. One of these was the future of the "New Negro". Artists and intellectuals of the Harlem Renaissance echoed American [[progressivism]] in its faith in democratic reform, in its belief in art and literature as agents of change, and in its almost uncritical belief in itself and its future. This progressivist worldview rendered Black intellectuals—just like their White counterparts—unprepared for the rude shock of the [[Great Depression]], and the Harlem Renaissance ended abruptly because of naive assumptions about the centrality of culture, unrelated to [[economics|economic]] and social realities.{{citation needed|date=January 2014}}twp plus too
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==Notable figures and their works==
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