From its opening pages, Chicago's New Negroes delivers a knockout punch. Baldwin opens his monograph with a retelling of Jack Johnson's 1910 heavyweight victory and its impact on Black Chicago, and thus only begins to weave an epic and compelling tapestry that demonstrates how Black people "acted" rather than were "acted upon." He resituates ideas once limited to discussions of the Harlem Renaissance and moves them geographically to Great Migration-era Chicago. There, dots are connected to demonstrate the very tangible relationship between consumer culture and intellectual life.

To the reader's delight, Baldwin resists the tendency to provide a straightforward "history" of African Americans in Chicago in the early twentieth century. While the text does follow the stories and innovations of such major players as Madame CJ Walker, Thomas A. Dorsey, Oscar Micheaux and baseball's Rube Foster, it also provides a much needed space in which we get to hear the thoughts and words of everyday people, those who sat in beauty parlors, enjoyed the early years of cinema, attended sporting events, and made a way despite the racial, social and economic limitations. We soon determine that southern migrants to Chicago brought with them not country ways, but entirely new, entirely modern, ways of thinking.

For authors, allowing everyday people to speak for themselves is sometimes difficult. Yet, Baldwin manages to make these voices heard and it is a credit to his writing style. His presentation is especially adept in the sports chapter. Here, Baldwin takes the reader on a tour of Black Chicago's various "playgrounds." We have no problem envisioning the juking, the fakes, the fast forwards, the trucking, the passing and dribbling and their possible meanings for building a better world.

Through chapters devoted to the "mapping" of the Black Metropolis, beauty culture, film exhibition and filmmaking, the rise of gospel music and the sporting life, Baldwin allows a glimpse into a world of possibility, a world where popular culture is just as, if not more, worthy of study as so-called arts and letters. He forces a new understanding of even the Harlem Renaissance, an ambitious project for sure. While the book is a scholarly monograph, Baldwin's forays into social and cultural theory are so nuanced as to make the book accessible to a wider audience. And for that we should be thankful. Even though the urgent and triumphant stories within Chicago's New Negroes take place seventy five or a hundred years ago, the lessons we learn from them and the hope we take with us when we close the book are timeless. And are even more so in an era when Black culture is appropriated, diffused, and often taken for granted.

From its opening pages, Chicago's New Negroes delivers a knockout punch. Baldwin opens his monograph with a retelling of Jack Johnson's 1910 heavyweight victory and its impact on Black Chicago, and thus only begins to weave an epic and compelling tapestry that demonstrates how Black people "acted" rather than were "acted upon." He resituates ideas once limited to discussions of the Harlem Renaissance and moves them geographically to Great Migration-era Chicago. There, dots are connected to demonstrate the very tangible relationship between consumer culture and intellectual life.

To the reader's delight, Baldwin resists the tendency to provide a straightforward "history" of African Americans in Chicago in the early twentieth century. While the text does follow the stories and innovations of such major players as Madame CJ Walker, Thomas A. Dorsey, Oscar Micheaux and baseball's Rube Foster, it also provides a much needed space in which we get to hear the thoughts and words of everyday people, those who sat in beauty parlors, enjoyed the early years of cinema, attended sporting events, and made a way despite the racial, social and economic limitations. We soon determine that southern migrants to Chicago brought with them not country ways, but entirely new, entirely modern, ways of thinking.

For authors, allowing everyday people to speak for themselves is sometimes difficult. Yet, Baldwin manages to make these voices heard and it is a credit to his writing style. His presentation is especially adept in the sports chapter. Here, Baldwin takes the reader on a tour of Black Chicago's various "playgrounds." We have no problem envisioning the juking, the fakes, the fast forwards, the trucking, the passing and dribbling and their possible meanings for building a better world.

Through chapters devoted to the "mapping" of the Black Metropolis, beauty culture, film exhibition and filmmaking, the rise of gospel music and the sporting life, Baldwin allows a glimpse into a world of possibility, a world where popular culture is just as, if not more, worthy of study as so-called arts and letters. He forces a new understanding of even the Harlem Renaissance, an ambitious project for sure. While the book is a scholarly monograph, Baldwin's forays into social and cultural theory are so nuanced as to make the book accessible to a wider audience. And for that we should be thankful. Even though the urgent and triumphant stories within Chicago's New Negroes take place seventy five or a hundred years ago, the lessons we learn from them and the hope we take with us when we close the book are timeless. And are even more so in an era when Black culture is appropriated, diffused, and often taken for granted.