The Black Man 's Burden By Henry Louis Gates Jr.

Through the 1940s-50s, gay bars were a crucial time for the gay community. Gay bars were not just a place for gays and lesbians to go to but it also was a “safe haven” for them because they were be able to be comfortable in their own skin. Homosexual men had more “freedom” to express themselves in public (such as parks, and bars) than homosexual women. The only places that homosexual women could express themselves were at lesbian bars. Lesbian bars enabled them to form their identity, including black lesbians. According to Elizabeth Kennedy and Madeline Davis, in their article “I Could Hardly Wait to Get Back to that Bar,” they define a lesbian bar as “a place where patrons felt relatively safe,” (33). This quote demonstrates the fact that

It is strange that two of the most prominent artists of the Harlem Renaissance could ever disagree as much as or be as different as Zora Neale Hurston and Richard Wright. Despite the fact that they are the same color and lived during the same time period, they do not have much else in common. On the one hand is Hurston, a female writer who indulges in black art and culture and creates subtle messages throughout her most famous novel, Their Eyes Were Watching God. On the other hand is Wright, who is a male writer who demonstrates that whites do not like black people, nor will they ever except for when they are in the condition “…America likes to see the Negro live: between laughter and tears.” Hurston was also a less political writer than

The Scramble for Africa can easily be defined as the forced invasion and division of African countries among European superpowers. Those powers included Great Britain, France, Spain, Portugal, Italy, Germany, and Belgium. Each superpower wanted control over a certain area on the continent and would do anything to ensure that their area remained in their best interest. To bring the conflicts to the forefront, the countries participated in the Berlin Africa Conference in 1884-1885. In this conference, the issues of Anglo-German relations and everybody’s control in Africa were discussed. As a result of the conference, European control began to overtake the African continent and imperialism became a giant part of the European mark. In his book, “Worlds of Color” W.E.B DuBois discusses the idea of whole colonial enterprise stating that the problem the world faces is the color line. This can easily be interpreted as Dr. DuBois giving the idea that if World, more specifically European superpowers stop viewing the color line and Africa’s color line as something less than them a lot of the world’s issues could be detected and fixed. But more importantly, Dr. DuBois is stating that without the Worlds of Color, European industrialization would not exist.

Life for most homosexuals during the first half of the Twentieth century was one of hiding, being ever so careful to not give away their true feelings and predilections. Although the 1920s saw a brief moment of openness in American society, that was quickly destroyed with the progress of the Cold War, and by default, that of McCarthyism. The homosexuals of the 50s “felt the heavy weight of medical prejudice, police harassment and church condemnation … [and] were not able to challenge these authorities.” They were constantly battered, both physically and emotionally, by the society that surrounded them. The very mention or rumor of one’s homosexuality could lead to the loss of their family, their livelihood and, in some cases, their

The articles by Roderick Ferguson (2004) in his book literally highlights the regulation that established sociological schools of thought impose upon the ‘queer people of color,’ or anyone who is different in terms of sexual orientation and non-white. In the very early part of the book, Ferguson depicts the imagery of a black drag-queen prostitute from Marlon Riggs’ ‘Tongues Untied.’ He goes on to describe the way capitalism, in general, and the American system in particular has conveniently excluded many like her – people of alternative sexual preferences with both African American culture and Leftist Liberal thought rooted in the heterogeneity. (Ferguson, 2004, p. 3). It is at this point that through the work of Chandan Reddy, Ferguson reminds the reader that the core of Leftist-Liberal Marxist thought revolves around the abolishment of race, gender and sexuality.

The 1920’s were a period or rapid growth and change in America. After World War I American’s were introduced to a lifestyle of lavishness they had never encountered before. It was a period of radical thought and ideas. It was in this time period that the idea of the Harlem Renaissance was born. The ideology behind the Harlem Renaissance was to create the image of the “New Negro”. The image of African-American’s changed from rural, uneducated “peasants” to urban, sophisticated, cosmopolites. Literature and poetry abounded. Jazz music and the clubs where it was performed at became social “hotspots”. Harlem was the epitome of the “New Negro”. However, things weren’t as sunny as they appeared. Many felt that the Harlem Renaissance itself

In the novel, The Book of Negroes, the author Lawrence Hill portrays how Aminata acknowledges betrayal and distrust within the characters in the novel, as even the minor characters in the novel are affected by this. The author showcases many examples of distrust and betrayal throughout the text, such as how Aminata’s husband Chekura leaves her multiple of times in her life. Also then after her first owner, Robinson Appleby abuses Amianta severely. Aminata’s mentor, Solomon Lindo defines the true meaning of deception. The Book of Negroes demonstrates the characteristics and skills that Aminata goes through in her life, as she suffers many tragic events trying to gain her freedom.

White privilege is the societal privileges that specifically benefit white people. White privilege is why white people can get pulled over by the police and escape a ticket with just a smile and apology. White privilege is also why whites are in charge of a company and they see a black person, they bypass the application. Whites carry a certain privilege not available to people of color. Marilyn Frye describes how whiteness is a form social and political power.

In her book Queering the Color Line: Race and the Invention of Homosexuality in American Culture, Siobhan Somerville uses film and literature from the late nineteenth and early twentieth centuries to demonstrate the ways in which early models of homosexuality were often embedded within discussions of race, specifically “the bifurcated constructions of ‘black’ and ‘white’ bodies” (175). Somerville notes that discussions of sexual orientations emerged at the same time Plessy v. Ferguson, the supreme court case that affirmed the government’s right to determine an individual’s racial identity, was settled. She contends that the development of sexual classifications alongside the U.S. governments “aggressive policing of the boundary between ‘black’ and ‘white’ bodies” was more than a coincidence in timing (3). Somerville argues that this new polarization of bodies and focus on sexual desires echoed a similar, simultaneous shift in racial thinking. During this shift, the cultural figure of the mulatto gave way to a new visualization of the races as natural opposites, and increasing numbers of legal and social devices were created to prevent people of different races from engaging in sexual activity with one another. Thus the materialization of new sexual categories paralleled, and was profoundly influenced by, the hardening of the "color line," the division of Americans into racially segregated categories.

“[W]orking-classes people in the capital of black America were stunningly open about their homosexuality” as it was “evident in urban blues lyrics of the time,” but it was not accepted in the middle-class and upper-class communities (Russell 103, 105). Some influential, elite/upper- or middle-class people during the Harlem Renaissance, such as Claude McKay, George Chauncey, Alain Locke, and others were “extraordinarily open about homosexuality and about the repressive nature of heterosexual norms” (103). Even James Baldwin was open about his sexuality and “claimed to have felt accepted as a homosexual” in Harlem (108). However, this did not stop the elitists, middle- and upper-class individuals, and the media from having their say. Under government policy, “President Eisenhower banned homosexuals from federal jobs, prospective employees were required to undergo screenings of their sexual histories,

For New York’s gay and trans communities the 1960’s marks a turning point in their history; Sodomy had been reduced to a misdemeanour, with a maximum sentence of six months in prison, the anti-gay accommodation rules of the New York State Liquor Authority had been overturned, allowing homosexuals to congregate and be served alcoholic beverages in bars, The American Psychiatric Association reclassified

George Chauncey’s Gay New York Gender, Urban Culture, and the Making of the Gay Male World 1890-1940, goes where no other historian had gone before, and that is into the world of homosexuality before World War II. Chauncey’s 1994 critically acclaimed book was a gender history breakthrough that gave light to a homosexual subculture in New York City. The author argues against the idea that homosexual men lived hidden away from the world. Chauncey’s book exposes an abundant culture throughout the United States, especially in New York. In this book Chauncey not only shows how the gay population existed, but “uncovers three widespread myths about the history of gay life before the rise of the gay movement which was isolation, invisibility, and internalization.” Chauncey argues against these theories that in the years 1890-1940, America had in fact a large gay culture. Chauncey book is impactful in the uncovering of a lost culture, but also works as an urban pre-World War II history giving an inside view of life in the city through sexuality and class.

Howard, John. Men Like That: A Southern Queer History. Chicago: The University of Chicago Press, 1999. (hb). ISBN: 0-226-35471-7.

The Harlem Renaissance was an evolutionary period in terms of African-American cultural expression; in fact, the movement changed the way that black musicians, poets, authors, and even ordinary people perceived themselves. One of the most influential poets of the time was Langston Hughes. Hughes’ works display a pride in being black that most African-Americans are too afraid to show, even today. Moreover, he adamantly refused to submit to the sentiment that he should be ashamed of his heritage, instead believing that “no great poet has ever been afraid of being himself.”(p1990 From the Negro Artist). In the article “‘Don’t Turn Back’: Langston Hughes, Barack Obama, and Martin Luther King, Jr.” by Jason Miller, Miller analyzes how Hughes’ poetry has been used by Martin Luther King, Jr. and Barack Obama and how the House of Un-american Activities Committee affected that use.

I feel there are many reasons that Henry Louis Gates Jr chose "Colored People" as the title of his memoir. I think the word "Colored" in the title was used to group everyone as a whole. The word "Colored" was also used to self identify different races inside and out of Piedmont. I think he used "People" to say that everyone matters no matter where you hail from. The word "Colored" and the word "People" have two different meanings alone. But put the two together they become a powerful piece to the novel. I feel that when you put "Colored" and "People" together it gives off a thought to the reader that the book is only going to be about black people. In the novel, Henry touches basis on more than just black people. Henry gave the phrase "Colored People" a whole new meaning. In Henry's words "Colored People" means: Accept me for who I am, despite my background.