Examining Hughes’s interest in Ebony magazine as a context informing his approach to writing at mid-century, this chapter explores the intersections aesthetically and politically between the landscape of popular journalism and Hughes’s work for the young. In Famous American Negroes (1954) and Famous Negro Music Makers (1955), Hughes combines photography and narrative to demonstrate the economic, political, and creative accomplishments of Black Americans. Hughes’s approach to the designation of “famous” as a marker of Black accomplishment corresponds to the method of Ebony in deploying public recognition and singularity as signs of civil rights progress, a strategic approach during the Cold War, during which straightforward assertions of dissatisfaction with American ideals could appear dangerous. By focusing on notoriety, Hughes picks up on the mode dominant in Ebony magazine but elaborates and complicates its tendencies. In the books’ depiction of music, Hughes articulates a resistant approach to the singularity of celebrity biography.