A rerd number of out LGBTQ players make this year’s tournament a feast for gay fans.
Contents:
- A GAY GIRL’S GUI TO THE 2023 WOMEN’S WORLD CUP
- HARLEM RENAISSANCE AT 100: AN ESSENTIAL QUEER CULTURE GUITHE WORKS OF ART BROKE NEW GROUND AND REVERBERATE LOUDLY BLACK, QUEER CULTURE {FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}{FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}LIFEBY DARNELL L. MOOREFEBARY 19, 2020/11:08 {HEIGHT:HER;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;POSN:RELATIVE;-WEBK-FLEX-WRAP:WRAP;-MS-FLEX-WRAP:WRAP;FLEX-WRAP:WRAP;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;-WEBK-TRANSFORM-ORIG:CENTER;-MS-TRANSFORM-ORIG:CENTER;TRANSFORM-ORIG:CENTER;} IMG{HEIGHT:100%;WIDTH:100%;OBJECT-F:VER;}{HEIGHT:3928PX;WIDTH:4939PX;}PHOTOQUT/GETTY IMAGAUTHOR ZORA NEALE HURSTON (1891-1960) AT A BOOK FAIR, NEW YORK, NEW YORK, CIR 1937. (PHOTO BY PHOTOQUT/GETTY IMAG)BY DARNELL L. MOOREFEBARY 19, 2020 / 11:08 AM{"@NTEXT":","@TYPE":"NEWSARTICLE","HEADLE":"HARLEM RENAISSANCE AT 100: AN ESSENTIAL QUEER CULTURE GUI","THUMBNAILURL":","DATEPUBLISHED":"2020-02-19T16:08:33.000+0000","DATEMODIFIED":"2020-02-19T16:08:33.000+0000","IMAGE":{"@NTEXT":","@TYPE":"IMAGEOBJECT","URL":","WIDTH":1920,"HEIGHT":1080},"URL":","THOR":{"@TYPE":"ORGANIZATN","NAME":"LOGO TV"},"MAENTYOFPAGE":{"@TYPE":"WEBPAGE","@ID":"},"PUBLISHER":{"@TYPE":"ORGANIZATN","@ID":","NAME":"LOGO TV","URL":","LOGO":{"@TYPE":"IMAGEOBJECT"}},"CREATOR":"DARNELL L. MOORE","KEYWORDS":"BLACK HISTORY MONTH","ARTICLESECTN":"LIFE"}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}PICTURED ABOVE: AUTHOR ZORA NEALE HURSTON AT A NEW YORK CY BOOK FAIR, {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE HARLEM RENAISSANCE, WHICH FLOURISHED DURG THE 1920S, WAS A CULTURAL, ARTISTIC, AND POLIL MOVEMENT—MANY OF WHOSE PARTICIPANTS WERE BRILLIANT QUEER PEOPLE OF LOR. EVERYDAY THIS WEEK WE’RE HONORG THEIR NTRIBUTNS HONOR OF THIS VAL MOVEMENT’S CENTENNIAL ANNIVERSARY. PREVLY: RICHARD BCE NUGENT, GAY REBEL WH A {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE BLACK ARTISTS OF THE HARLEM RENAISSANCE PRODUCED WORKS THAT RAISED NEW QUTNS ABOUT WHAT WAS AND WAS NOT RPECTABLE; WHAT SHOULD OR SHOULD NOT BE NSIRED THE MARKERS OF EEDOM; WHAT ULD OR ULD NOT F TO ONE’S VISN OF BLACK {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IN MANY WAYS, THE HARLEM RENAISSANCE ARTISTS QUEERED, OR RE-IMAGED, BLACKNS, AS WELL AS BLACK PEOPLE’S PLACE THE AMERIN MOCRATIC PROJECT. THEY CREATED NEW FORMS OF ART AND CULTURAL EXPRSN THAT EXAMED HOW BLACK PEOPLE’S RELATNSHIPS TO THE STATE, TO MUNI, AND TO EACH OTHER ULD BE ARTICULATED RADILLY DIFFERENT WAYS. THEIR ART BROKE NEW GROUND THAT REVERBERAT STILL BLACK/QUEER CULTURE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}WE’VE CLUD SOME SENTIAL EXAMPL OF WORKS THAT YOU SHOULD READ AND WATCH THE LIST {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TO READ:{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}FIRE!! A QUARTERLY DEVOTED TO THE YOUNGER NEGRO {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TAP TO THE ARTISTIC VIRTUOSY OF THE HARLEM RENAISSANCE OF THE 1920S AND EARLY '30S BY BEGNG YOUR READG JOURNEY WH FIRE!!, AN AIN-AMERIN LERARY JOURNAL THAT WAS NCEIVED WASHGTON, D.C., BY POET LANGSTON HUGH AND WRER RICHARD BCE NUGENT, AND EDED BY NOVELIST WALLACE HENRY THURMAN. WHILE THE JOURNAL WAS RELEASED ONLY ONCE NOVEMBER 1926, IS A PERFECT STARTG PLACE TO DIG TO THE POETRY, VISUAL ART, PROSE, AND DRAMATIC WORKS CREATED BY FORWARD-THKG BLACK ARTISTS OF THAT ERA AND CURATED BY THE LIK OF ZORA NEALE HURSTON, AARON DOUGLAS, GWENDOLYN BENT, AND JOHN PRTON {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IF YOU READ , LVE TO RICHARD BCE NUGENT’S NTRIBUTNS TO THE JOURNAL, “SMOKE, LILI, AND JA," A SHORT STORY THAT WAS WAY AHEAD OF S QUEER TIME, AS WELL AS ZORA NEALE HURSTON’S “SWEAT,” WHICH EXAM SOUTHERN BLACK LIFE WH NUANCE AND {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE NEW NEGRO: VOIC OF THE HARLEM RENAISSANCE BY ALA {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}KNOWN BY SOME AS THE “FATHER” OR “AN" OF THE HARLEM RENAISSANCE, THE BLACK GAY WRER AND HOWARD UNIVERSY PHILOSOPHER ALA LOCKE EDED—WHAT WOULD BEE—AN SENTIAL AND THORATIVE ANTHOLOGY OF HARLEM RENAISSANCE PROSE AND POETRY. THE LLECTN CLUS LOCKE’S SAY “THE NEW NEGRO,” OM WHICH THE TLE OF THE BOOK, AS WELL AS FOUR ADDNAL SAYS HE PENNED. IT ALSO CLUS POETRY, FICTN, AND SAYS WRTEN BY ARTISTS LIKE LANGSTON HUGH, ZORA NEAL HURSTON, CL MCKAY, AMONG {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}PASSG BY NELLA LARSEN AND THE BLACKER THE BERRY: A NOVEL OF NEGRO LIFE BY WALLACE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TO BETTER UNRSTAND THE WORLD WHICH BLACK ARTISTS OF THE HARLEM RENAISSANCE NAVIGATED, TAKE A TREK THROUGH THE FICTNAL LANDSP NJURED BY NOVELISTS LIKE NELLA LARSEN AND WALLACE THURMAN. LARSEN’S PASSG, WHICH IS PRIMARILY SET '20S HARLEM, CENTERS ON THE CLOSE (POSSIBLY HOMOEROTIC) IENDSHIP OF TWO BLACK WOMEN—CLARE KENDRY AND IRENE REDFIELD—AND HOW ONE OF THE WOMEN (CLARE) PASSED AS WHE FOR THE SAKE OF HER {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE BLACKER THE BERRY: A NOVEL OF NEGRO LIFE IS ALSO A STORY ABOUT THE POLICS OF SK LOR. THURMAN TELLS THE TRIUMPHANT STORY OF EMMA LOU MAN, A YOUNG BLACK WOMAN WHO MOV OM THE SOUTH TO HARLEM FOR WORK ONLY TO FACE DISCRIMATN BY OTHER BLACK PEOPLE WH LIGHTER SK BEE OF HER SK LOR. WHETHER THE NTEXT WAS THE UNRELENTG VLENCE OF RACISM OR THE WAYS THAT BLACK PEOPLE SURVIVED AND OUTWTED OLD HATREDS, THE NOVELS OF LARSEN AND THURMAN ARE DOORWAYS TO THE NER LIV OF PLEX BLACK {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THEIR EY WERE WATCHG GOD BY ZORA NEALE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}“THERE ARE YEARS THAT ASK QUTNS AND YEARS THAT ANSWER,” SO WR AND EXPLOR ZORA NEALE HURSTON HER NOW CELEBRATED NOVEL, THEIR EY WERE WATCHG GOD, WHICH WAS PUBLISHED 1937. AT THE HEART OF THE STORY IS THE MA CHARACTER, A YOUNG BLACK WOMAN, JANIE CRAWFORD, WHO OF AGE FLORIDA THE EARLY 20TH CENTURY. HURSTON’S PENCHANT FOR WRG DIALOGUE THAT PTURED THE DIALECT AND LANGUAGE OF CENTRAL AND SOUTHERN FLORIDA MUNI WAS DITIVE OF HER KEEN ANTHROPOLOGIL SENSIBILI. THE NOVEL, NOW NSIRED HARLEM RENAISSANCE CLASSIC, WAS NOT IMMEDIATELY SUCCSFUL; HOWEVER, THE MORE RECENT SPOTLIGHTS ON HURSTON’S WORKS, THROUGH THE EFFORTS OF LERARY STARS LIKE ALICE WALKER, HAVE MA CLEAR THAT HURSTON’S ACUTE LENS ON BLACK CULTURE AND LANGUAGE ARE GIFTS TO AMERIN {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}"AN INTRODUCTN TO THE HARLEM RENAISSANCE" BY THE POETRY FOUNDATNROBERT W. KELLEY/THE LIFE PICTURE COLLECTN VIA GETTY IMAGPOET LANGSTON HUGH HARLEM. (PHOTO BY ROBERT W. KELLEY/THE LIFE PICTURE COLLECTN VIA GETTY IMAG){BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}POETRY WAS A PRCIPAL ROUTE THROUGH WHICH NEW VISNS OF BLACK LIFE WERE CHANNELED. YOU MAY KNOW THE NAM AND WORKS OF POETS LIKE LANGSTON HUGH (PICTURED ABOVE), COUNTEE CULLEN, AND JAM WELDON JOHNSON, BUT YOU SHOULD KNOW THE NAM AND WORKS OF OTHERS, PECIALLY WOMEN OF THE HARLEM RENAISSANCE, LIKE GEIA DOUGLAS JOHNSON AND ANNE SPENCER. THE POETRY FOUNDATN TRAC THE HISTORY OF HARLEM RENAISSANCE POETRY S MT-READ SAY, “AN INTRODUCTN TO THE HARLEM RENAISSANCE.”{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE GAY REBEL OF THE HARLEM RENAISSANCE BY RICHARD BCE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}RICHARD BCE NUGENT’S IRREVERENT, SENSUO, SEXY, UNBOUND, AND BLACK VISUAL AND LERARY ARTWORKS FORM THE BASIS OF THIS LLECTN OF KNOWN AND RARE WORKS. THOMAS H. WIRTH, THE LLECTN'S EDOR, OFFERS ADDNAL NTEXT HIS OPENG THAT TTIFI TO NUGENT’S UNBRIDLED QUEERNS, AND THE WAYS WHICH NUGENT AND HIS HARLEM RENAISSANCE PEERS NAVIGATED A TIME WHEN QUEER SEXUALI WERE BOTH EXPLORED AND {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TO WATCH:{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}LOOKG FOR {BOX-SIZG:BORR-BOX;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:RELATIVE;PADDG-BOTTOM:75%;} .TWTER-TWEET-RENRED, {M-WIDTH:65%;WIDTH:TO !IMPORTANT;} {WIDTH:100%;} {MARG-LEFT:TO !IMPORTANT;MARG-RIGHT:TO !IMPORTANT;} IMG{MAX-WIDTH:100%;WIDTH:100%;} > IAME{BORR:NONE;MAX-WIDTH:100%;} > *{MAX-WIDTH:NONE !IMPORTANT;POSN:ABSOLUTE;HEIGHT:100% !IMPORTANT;WIDTH:100% !IMPORTANT;}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE TIMATE, NER LIFE OF LANGSTON HUGH REMAS ELIVE. WHO DID HE LOVE? WHAT ENERGI AND ATTRACTNS MA HIS HEART SKIP A BEAT? WHAT WERE THE SOURC OF HIS FEARS? AND BEYOND THE GOOD NSEQUENC OF HIS WORK AS AN ARTIST, WHO WAS LANGSTON THE PERSON? DIRECTOR ISSAC JULIEN’S FILM IS, AS JULIEN SCRIBED , “A LYRIL EXPLORATN—AND RECREATN—OF THE PRIVATE WORLD OF POET, NOVELIST, AND PLAYWRIGHT LANGSTON HUGH.”{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}BROTHER TO {BOX-SIZG:BORR-BOX;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:RELATIVE;PADDG-BOTTOM:75%;} .TWTER-TWEET-RENRED, {M-WIDTH:65%;WIDTH:TO !IMPORTANT;} {WIDTH:100%;} {MARG-LEFT:TO !IMPORTANT;MARG-RIGHT:TO !IMPORTANT;} IMG{MAX-WIDTH:100%;WIDTH:100%;} > IAME{BORR:NONE;MAX-WIDTH:100%;} > *{MAX-WIDTH:NONE !IMPORTANT;POSN:ABSOLUTE;HEIGHT:100% !IMPORTANT;WIDTH:100% !IMPORTANT;}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}RODNEY EVANS’ NARRATIVE FILM BROTHER TO BROTHER FOLLOWS THE VELOPG IENDSHIP BETWEEN S MA CHARACTER PERRY, A YOUNG BLACK GAY ARTIST WHO WAS KICKED OUT OF HIS HOME, AND THAT OF A FICTNALIZED ELR, RICHARD BCE NUGENT. THE TWO ARTISTS VELOP AN TERGENERATNAL IENDSHIP FED BY THEIR LOVE OF THE WRTEN WORD AND THEIR DAC SIRE TO LIVE EELY AND {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}"MIC AND FILMS OF THE HARLEM RENAISSANCE" OM THE PBS COLLECTN'S THE AIN AMERINS: MANY RIVERS TO {BOX-SIZG:BORR-BOX;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:RELATIVE;PADDG-BOTTOM:56.49999999999999%;} .TWTER-TWEET-RENRED, {M-WIDTH:65%;WIDTH:TO !IMPORTANT;} {WIDTH:100%;} {MARG-LEFT:TO !IMPORTANT;MARG-RIGHT:TO !IMPORTANT;} IMG{MAX-WIDTH:100%;WIDTH:100%;} > IAME{BORR:NONE;MAX-WIDTH:100%;} > *{MAX-WIDTH:NONE !IMPORTANT;POSN:ABSOLUTE;HEIGHT:100% !IMPORTANT;WIDTH:100% !IMPORTANT;}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}HISTORIAN HENRY LOUIS GAT—WHO ONCE SCRIBED THE HARLEM RENAISSANCE AS “GAY AS WAS BLACK”— EXPLOR MIC AND FILMS THAT PTURED THE ZEGEIST OF THE MOVEMENT THIS SHORT DOCERI. AS GAT EXPLAS, BLACK CULTURE DURG THE HARLEM RENAISSANCE WAS ENERGIZED BY THE IMPROVISATNAL AND POLYPHONIC SOUND THAT IS JAZZ AND PENNT FILMS DIRECTED BY BLACK AMERINS LIKE OSR {BOX-SIZG:BORR-BOX;CLEAR:BOTH;}BLACK HISTORY {BOX-SIZG:BORR-BOX;MARG:0 TO;WIDTH:90%;M-WIDTH:288PX;MAX-WIDTH:1440PX;M-HEIGHT:194PX;}LATT NEWS
A GAY GIRL’S GUI TO THE 2023 WOMEN’S WORLD CUP
The band’s first album, also lled “Lavenr Country, ” was one of the first untry albums wh outwardly gay them, acrdg to Billboard. The album, origally released 1973, clus songs wh lyrics about queer sire and homophobia.
And fally, there's Hi Honey, I'm Homo!, a great tle by Matt Bme — 's about how somethg as rigid and formulaic as the Amerin s n still fd room to speak to queerns — sometim very d ways. It will be a glor month to be a gay fan.
Last time at the 2019 Women’s World Cup, the Netherlands lay claim to the honor of beg the team wh the most out LGBTQ players, but this year Atralia boasts 10 out players and overtak them for the tle of Gayt Team 2k23. Ireland’s historic entry to the tournament marks another triumph for out midfielr Sead Farrelly, whose natnal team but and 2023 return to the NWSL e more than six years after retirg om soccer the wake of systemic homophobic and sexual abe wh the league, which the Athletic first reported on 2021. Prevly: Richard Bce Nugent, Gay Rebel Wh a black artists of the Harlem Renaissance produced works that raised new qutns about what was and was not rpectable; what should or should not be nsired the markers of eedom; what uld or uld not f to one’s visn of black many ways, the Harlem Renaissance artists queered, or re-imaged, blackns, as well as black people’s place the Amerin mocratic project.
HARLEM RENAISSANCE AT 100: AN ESSENTIAL QUEER CULTURE GUITHE WORKS OF ART BROKE NEW GROUND AND REVERBERATE LOUDLY BLACK, QUEER CULTURE {FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}{FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}LIFEBY DARNELL L. MOOREFEBARY 19, 2020/11:08 {HEIGHT:HER;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;POSN:RELATIVE;-WEBK-FLEX-WRAP:WRAP;-MS-FLEX-WRAP:WRAP;FLEX-WRAP:WRAP;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;-WEBK-TRANSFORM-ORIG:CENTER;-MS-TRANSFORM-ORIG:CENTER;TRANSFORM-ORIG:CENTER;} IMG{HEIGHT:100%;WIDTH:100%;OBJECT-F:VER;}{HEIGHT:3928PX;WIDTH:4939PX;}PHOTOQUT/GETTY IMAGAUTHOR ZORA NEALE HURSTON (1891-1960) AT A BOOK FAIR, NEW YORK, NEW YORK, CIR 1937. (PHOTO BY PHOTOQUT/GETTY IMAG)BY DARNELL L. MOOREFEBARY 19, 2020 / 11:08 AM{"@NTEXT":","@TYPE":"NEWSARTICLE","HEADLE":"HARLEM RENAISSANCE AT 100: AN ESSENTIAL QUEER CULTURE GUI","THUMBNAILURL":","DATEPUBLISHED":"2020-02-19T16:08:33.000+0000","DATEMODIFIED":"2020-02-19T16:08:33.000+0000","IMAGE":{"@NTEXT":","@TYPE":"IMAGEOBJECT","URL":","WIDTH":1920,"HEIGHT":1080},"URL":","THOR":{"@TYPE":"ORGANIZATN","NAME":"LOGO TV"},"MAENTYOFPAGE":{"@TYPE":"WEBPAGE","@ID":"},"PUBLISHER":{"@TYPE":"ORGANIZATN","@ID":","NAME":"LOGO TV","URL":","LOGO":{"@TYPE":"IMAGEOBJECT"}},"CREATOR":"DARNELL L. MOORE","KEYWORDS":"BLACK HISTORY MONTH","ARTICLESECTN":"LIFE"}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}PICTURED ABOVE: AUTHOR ZORA NEALE HURSTON AT A NEW YORK CY BOOK FAIR, {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE HARLEM RENAISSANCE, WHICH FLOURISHED DURG THE 1920S, WAS A CULTURAL, ARTISTIC, AND POLIL MOVEMENT—MANY OF WHOSE PARTICIPANTS WERE BRILLIANT QUEER PEOPLE OF LOR. EVERYDAY THIS WEEK WE’RE HONORG THEIR NTRIBUTNS HONOR OF THIS VAL MOVEMENT’S CENTENNIAL ANNIVERSARY. PREVLY: RICHARD BCE NUGENT, GAY REBEL WH A {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE BLACK ARTISTS OF THE HARLEM RENAISSANCE PRODUCED WORKS THAT RAISED NEW QUTNS ABOUT WHAT WAS AND WAS NOT RPECTABLE; WHAT SHOULD OR SHOULD NOT BE NSIRED THE MARKERS OF EEDOM; WHAT ULD OR ULD NOT F TO ONE’S VISN OF BLACK {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IN MANY WAYS, THE HARLEM RENAISSANCE ARTISTS QUEERED, OR RE-IMAGED, BLACKNS, AS WELL AS BLACK PEOPLE’S PLACE THE AMERIN MOCRATIC PROJECT. THEY CREATED NEW FORMS OF ART AND CULTURAL EXPRSN THAT EXAMED HOW BLACK PEOPLE’S RELATNSHIPS TO THE STATE, TO MUNI, AND TO EACH OTHER ULD BE ARTICULATED RADILLY DIFFERENT WAYS. THEIR ART BROKE NEW GROUND THAT REVERBERAT STILL BLACK/QUEER CULTURE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}WE’VE CLUD SOME SENTIAL EXAMPL OF WORKS THAT YOU SHOULD READ AND WATCH THE LIST {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TO READ:{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}FIRE!! A QUARTERLY DEVOTED TO THE YOUNGER NEGRO {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TAP TO THE ARTISTIC VIRTUOSY OF THE HARLEM RENAISSANCE OF THE 1920S AND EARLY '30S BY BEGNG YOUR READG JOURNEY WH FIRE!!, AN AIN-AMERIN LERARY JOURNAL THAT WAS NCEIVED WASHGTON, D.C., BY POET LANGSTON HUGH AND WRER RICHARD BCE NUGENT, AND EDED BY NOVELIST WALLACE HENRY THURMAN. WHILE THE JOURNAL WAS RELEASED ONLY ONCE NOVEMBER 1926, IS A PERFECT STARTG PLACE TO DIG TO THE POETRY, VISUAL ART, PROSE, AND DRAMATIC WORKS CREATED BY FORWARD-THKG BLACK ARTISTS OF THAT ERA AND CURATED BY THE LIK OF ZORA NEALE HURSTON, AARON DOUGLAS, GWENDOLYN BENT, AND JOHN PRTON {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IF YOU READ , LVE TO RICHARD BCE NUGENT’S NTRIBUTNS TO THE JOURNAL, “SMOKE, LILI, AND JA," A SHORT STORY THAT WAS WAY AHEAD OF S QUEER TIME, AS WELL AS ZORA NEALE HURSTON’S “SWEAT,” WHICH EXAM SOUTHERN BLACK LIFE WH NUANCE AND {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE NEW NEGRO: VOIC OF THE HARLEM RENAISSANCE BY ALA {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}KNOWN BY SOME AS THE “FATHER” OR “AN" OF THE HARLEM RENAISSANCE, THE BLACK GAY WRER AND HOWARD UNIVERSY PHILOSOPHER ALA LOCKE EDED—WHAT WOULD BEE—AN SENTIAL AND THORATIVE ANTHOLOGY OF HARLEM RENAISSANCE PROSE AND POETRY. THE LLECTN CLUS LOCKE’S SAY “THE NEW NEGRO,” OM WHICH THE TLE OF THE BOOK, AS WELL AS FOUR ADDNAL SAYS HE PENNED. IT ALSO CLUS POETRY, FICTN, AND SAYS WRTEN BY ARTISTS LIKE LANGSTON HUGH, ZORA NEAL HURSTON, CL MCKAY, AMONG {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}PASSG BY NELLA LARSEN AND THE BLACKER THE BERRY: A NOVEL OF NEGRO LIFE BY WALLACE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TO BETTER UNRSTAND THE WORLD WHICH BLACK ARTISTS OF THE HARLEM RENAISSANCE NAVIGATED, TAKE A TREK THROUGH THE FICTNAL LANDSP NJURED BY NOVELISTS LIKE NELLA LARSEN AND WALLACE THURMAN. LARSEN’S PASSG, WHICH IS PRIMARILY SET '20S HARLEM, CENTERS ON THE CLOSE (POSSIBLY HOMOEROTIC) IENDSHIP OF TWO BLACK WOMEN—CLARE KENDRY AND IRENE REDFIELD—AND HOW ONE OF THE WOMEN (CLARE) PASSED AS WHE FOR THE SAKE OF HER {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE BLACKER THE BERRY: A NOVEL OF NEGRO LIFE IS ALSO A STORY ABOUT THE POLICS OF SK LOR. THURMAN TELLS THE TRIUMPHANT STORY OF EMMA LOU MAN, A YOUNG BLACK WOMAN WHO MOV OM THE SOUTH TO HARLEM FOR WORK ONLY TO FACE DISCRIMATN BY OTHER BLACK PEOPLE WH LIGHTER SK BEE OF HER SK LOR. WHETHER THE NTEXT WAS THE UNRELENTG VLENCE OF RACISM OR THE WAYS THAT BLACK PEOPLE SURVIVED AND OUTWTED OLD HATREDS, THE NOVELS OF LARSEN AND THURMAN ARE DOORWAYS TO THE NER LIV OF PLEX BLACK {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THEIR EY WERE WATCHG GOD BY ZORA NEALE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}“THERE ARE YEARS THAT ASK QUTNS AND YEARS THAT ANSWER,” SO WR AND EXPLOR ZORA NEALE HURSTON HER NOW CELEBRATED NOVEL, THEIR EY WERE WATCHG GOD, WHICH WAS PUBLISHED 1937. AT THE HEART OF THE STORY IS THE MA CHARACTER, A YOUNG BLACK WOMAN, JANIE CRAWFORD, WHO OF AGE FLORIDA THE EARLY 20TH CENTURY. HURSTON’S PENCHANT FOR WRG DIALOGUE THAT PTURED THE DIALECT AND LANGUAGE OF CENTRAL AND SOUTHERN FLORIDA MUNI WAS DITIVE OF HER KEEN ANTHROPOLOGIL SENSIBILI. THE NOVEL, NOW NSIRED HARLEM RENAISSANCE CLASSIC, WAS NOT IMMEDIATELY SUCCSFUL; HOWEVER, THE MORE RECENT SPOTLIGHTS ON HURSTON’S WORKS, THROUGH THE EFFORTS OF LERARY STARS LIKE ALICE WALKER, HAVE MA CLEAR THAT HURSTON’S ACUTE LENS ON BLACK CULTURE AND LANGUAGE ARE GIFTS TO AMERIN {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}"AN INTRODUCTN TO THE HARLEM RENAISSANCE" BY THE POETRY FOUNDATNROBERT W. KELLEY/THE LIFE PICTURE COLLECTN VIA GETTY IMAGPOET LANGSTON HUGH HARLEM. (PHOTO BY ROBERT W. KELLEY/THE LIFE PICTURE COLLECTN VIA GETTY IMAG){BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}POETRY WAS A PRCIPAL ROUTE THROUGH WHICH NEW VISNS OF BLACK LIFE WERE CHANNELED. YOU MAY KNOW THE NAM AND WORKS OF POETS LIKE LANGSTON HUGH (PICTURED ABOVE), COUNTEE CULLEN, AND JAM WELDON JOHNSON, BUT YOU SHOULD KNOW THE NAM AND WORKS OF OTHERS, PECIALLY WOMEN OF THE HARLEM RENAISSANCE, LIKE GEIA DOUGLAS JOHNSON AND ANNE SPENCER. THE POETRY FOUNDATN TRAC THE HISTORY OF HARLEM RENAISSANCE POETRY S MT-READ SAY, “AN INTRODUCTN TO THE HARLEM RENAISSANCE.”{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE GAY REBEL OF THE HARLEM RENAISSANCE BY RICHARD BCE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}RICHARD BCE NUGENT’S IRREVERENT, SENSUO, SEXY, UNBOUND, AND BLACK VISUAL AND LERARY ARTWORKS FORM THE BASIS OF THIS LLECTN OF KNOWN AND RARE WORKS. THOMAS H. WIRTH, THE LLECTN'S EDOR, OFFERS ADDNAL NTEXT HIS OPENG THAT TTIFI TO NUGENT’S UNBRIDLED QUEERNS, AND THE WAYS WHICH NUGENT AND HIS HARLEM RENAISSANCE PEERS NAVIGATED A TIME WHEN QUEER SEXUALI WERE BOTH EXPLORED AND {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}TO WATCH:{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}LOOKG FOR {BOX-SIZG:BORR-BOX;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:RELATIVE;PADDG-BOTTOM:75%;} .TWTER-TWEET-RENRED, {M-WIDTH:65%;WIDTH:TO !IMPORTANT;} {WIDTH:100%;} {MARG-LEFT:TO !IMPORTANT;MARG-RIGHT:TO !IMPORTANT;} IMG{MAX-WIDTH:100%;WIDTH:100%;} > IAME{BORR:NONE;MAX-WIDTH:100%;} > *{MAX-WIDTH:NONE !IMPORTANT;POSN:ABSOLUTE;HEIGHT:100% !IMPORTANT;WIDTH:100% !IMPORTANT;}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE TIMATE, NER LIFE OF LANGSTON HUGH REMAS ELIVE. WHO DID HE LOVE? WHAT ENERGI AND ATTRACTNS MA HIS HEART SKIP A BEAT? WHAT WERE THE SOURC OF HIS FEARS? AND BEYOND THE GOOD NSEQUENC OF HIS WORK AS AN ARTIST, WHO WAS LANGSTON THE PERSON? DIRECTOR ISSAC JULIEN’S FILM IS, AS JULIEN SCRIBED , “A LYRIL EXPLORATN—AND RECREATN—OF THE PRIVATE WORLD OF POET, NOVELIST, AND PLAYWRIGHT LANGSTON HUGH.”{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}BROTHER TO {BOX-SIZG:BORR-BOX;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:RELATIVE;PADDG-BOTTOM:75%;} .TWTER-TWEET-RENRED, {M-WIDTH:65%;WIDTH:TO !IMPORTANT;} {WIDTH:100%;} {MARG-LEFT:TO !IMPORTANT;MARG-RIGHT:TO !IMPORTANT;} IMG{MAX-WIDTH:100%;WIDTH:100%;} > IAME{BORR:NONE;MAX-WIDTH:100%;} > *{MAX-WIDTH:NONE !IMPORTANT;POSN:ABSOLUTE;HEIGHT:100% !IMPORTANT;WIDTH:100% !IMPORTANT;}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}RODNEY EVANS’ NARRATIVE FILM BROTHER TO BROTHER FOLLOWS THE VELOPG IENDSHIP BETWEEN S MA CHARACTER PERRY, A YOUNG BLACK GAY ARTIST WHO WAS KICKED OUT OF HIS HOME, AND THAT OF A FICTNALIZED ELR, RICHARD BCE NUGENT. THE TWO ARTISTS VELOP AN TERGENERATNAL IENDSHIP FED BY THEIR LOVE OF THE WRTEN WORD AND THEIR DAC SIRE TO LIVE EELY AND {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}"MIC AND FILMS OF THE HARLEM RENAISSANCE" OM THE PBS COLLECTN'S THE AIN AMERINS: MANY RIVERS TO {BOX-SIZG:BORR-BOX;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:RELATIVE;PADDG-BOTTOM:56.49999999999999%;} .TWTER-TWEET-RENRED, {M-WIDTH:65%;WIDTH:TO !IMPORTANT;} {WIDTH:100%;} {MARG-LEFT:TO !IMPORTANT;MARG-RIGHT:TO !IMPORTANT;} IMG{MAX-WIDTH:100%;WIDTH:100%;} > IAME{BORR:NONE;MAX-WIDTH:100%;} > *{MAX-WIDTH:NONE !IMPORTANT;POSN:ABSOLUTE;HEIGHT:100% !IMPORTANT;WIDTH:100% !IMPORTANT;}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}HISTORIAN HENRY LOUIS GAT—WHO ONCE SCRIBED THE HARLEM RENAISSANCE AS “GAY AS WAS BLACK”— EXPLOR MIC AND FILMS THAT PTURED THE ZEGEIST OF THE MOVEMENT THIS SHORT DOCERI. AS GAT EXPLAS, BLACK CULTURE DURG THE HARLEM RENAISSANCE WAS ENERGIZED BY THE IMPROVISATNAL AND POLYPHONIC SOUND THAT IS JAZZ AND PENNT FILMS DIRECTED BY BLACK AMERINS LIKE OSR {BOX-SIZG:BORR-BOX;CLEAR:BOTH;}BLACK HISTORY {BOX-SIZG:BORR-BOX;MARG:0 TO;WIDTH:90%;M-WIDTH:288PX;MAX-WIDTH:1440PX;M-HEIGHT:194PX;}LATT NEWS
While the journal was released only once November 1926, is a perfect startg place to dig to the poetry, visual art, prose, and dramatic works created by forward-thkg black artists of that era and curated by the lik of Zora Neale Hurston, Aaron Douglas, Gwendolyn Bent, and John Prton you read , lve to Richard Bce Nugent’s ntributns to the journal, “Smoke, Lili, and Ja, " a short story that was way ahead of s queer time, as well as Zora Neale Hurston’s “Sweat, ” which exam southern black life wh nuance and by some as the “father” or “an" of the Harlem Renaissance, the black gay wrer and Howard Universy philosopher Ala Locke eded—what would bee—an sential and thorative anthology of Harlem Renaissance prose and poetry.