Many harlemites viewed the club owners' act of as unfair.
a. not using african-american musicians
c. barring people of their own race
b. raising their prices
d. refusing to serve white customers
select the best answer from the choices provided

c. Barring people of their own race.

Explanation:

Langston Hughes' short essay/ story of "When the Negro was in Vogue" details his opinions of when Harlem used to be the property of the colored people. But now, more and more white people came at night, crowding their bars and cabarets after sundown. He points out that many Harlemites did not find the acts of club owners denying their own people, black people, admission in their bars as fair. Rather, it should be that they support and encourage the development of their own people instead of welcoming the whites. The blacks do not vocally say out that the whites' bars and places were never disturbed or overtaken by the blacks so why should they come into their town and mingle with them? But Hughes claims that "Negroes are practically never rude to  white people" so they silently act along with whatever the situation was.

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the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabian nights in modern iran