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Commie Pinko Fag

The Red Scare, The Pink Scare and the Homosexual Agenda

James Richmond Barthé Barthé was unique among African-American artists during the Harlem Renaissance in that he was the only one to exploit fully the black male nude for its political, racial, aesthetic, and erotic significance, as in Feral Benga and Stevedore. His homoeroticism is expressed in both Western mythological themes and in notions of the Africanized primitive. Although Barthé remained closeted all his life, he entered an established network of gay men and women soon after his arrival in Harlem in 1929. His penchant for homoerotic themes was encouraged by his friends in New York’s gay and artistic communities, which stretched across barriers of race, gender, and class.

James Richmond Barthé

Barthé was unique among African-American artists during the Harlem Renaissance in that he was the only one to exploit fully the black male nude for its political, racial, aesthetic, and erotic significance, as in Feral Benga and Stevedore. His homoeroticism is expressed in both Western mythological themes and in notions of the Africanized primitive.

Although Barthé remained closeted all his life, he entered an established network of gay men and women soon after his arrival in Harlem in 1929. His penchant for homoerotic themes was encouraged by his friends in New York’s gay and artistic communities, which stretched across barriers of race, gender, and class.

James Richmond Barthé, sculptor

[January 28, 1901 – March 5, 1989]

Barthé’s life and art were devoted to resolving internal conflicts resulting from the political pressures he felt as a black artist in New York, as a deeply spiritual person, and as a homosexual. His sculptures became the means through which he attempted to work out and work through these conflicts.

His work expresses a range of emotions and experiences, from lynching as a social reality for blacks to the ephemerality and eroticism of dance.

Artistically, Barthé preferred traditional styles and methods. He was particularly inspired by Western classical notions of beauty and Michelangelo’s idealization of the male nude. He coupled this interest with Rodinesque expressive compositions and a fascination with primitivism.

Trumpet Player | Langston Hughes The NegroWith the trumpet at his lipsHas dark moons of wearinessBeneath his eyeswhere the smoldering memoryof slave shipsBlazed to the crack of whipsabout thighsThe negrowith the trumpet at his lipshas a head of vibrant hairtamed down,patent-leathered nowuntil it gleamslike jet—were jet a crownthe musicfrom the trumpet at his lipsis honeymixed with liquid firethe rhythmfrom the trumpet at his lipsis ecstasydistilled from old desire—Desirethat is longing for the moonwhere the moonlight’s but a spotlightin his eyes,desirethat is longing for the seawhere the sea’s a bar-glasssucker sizeThe Negrowith the trumpet at his lipswhose jacketHas a fine one-button roll,does not knowupon what riff the music slipsIt’s hypodermic needleto his soulbut softlyas the tune comes from his throattroublemellows to a golden note

Trumpet Player | Langston Hughes

The Negro
With the trumpet at his lips
Has dark moons of weariness
Beneath his eyes
where the smoldering memory
of slave ships
Blazed to the crack of whips
about thighs

The negro
with the trumpet at his lips
has a head of vibrant hair
tamed down,
patent-leathered now
until it gleams
like jet—
were jet a crown

the music
from the trumpet at his lips
is honey
mixed with liquid fire
the rhythm
from the trumpet at his lips
is ecstasy
distilled from old desire—

Desire
that is longing for the moon
where the moonlight’s but a spotlight
in his eyes,
desire
that is longing for the sea
where the sea’s a bar-glass
sucker size

The Negro
with the trumpet at his lips
whose jacket
Has a fine one-button roll,
does not know
upon what riff the music slips

It’s hypodermic needle
to his soul
but softly
as the tune comes from his throat
trouble
mellows to a golden note

Langston Hughes, writer/activist
[February 1, 1902 – May 22, 1967]

Academics and biographers today believe that Hughes was homosexual and included homosexual codes in many of his poems, similar in manner to Walt Whitman. Hughes has cited him as an influence on his poetry. Hughes’s story “Blessed Assurance” deals with a father’s anger over his son’s effeminacy and “queerness”. The biographer Aldrich argues that, in order to retain the respect and support of black churches and organizations and avoid exacerbating his precarious financial situation, Hughes remained closeted.

Angelina Weld Grimké, poet, writer and teacher

[February 27, 1880 – June 10 1958]

Rosabel

I
Leaves, that whisper, whisper ever,
Listen, listen, pray;
Birds, that twitter, twitter softly,
Do not say me nay;
Winds, that breathe about, upon her,
(Since I do not dare)
Whisper, twitter, breathe unto her
That I find her fair.

II
Rose whose soul unfolds white petaled
Touch her soul rose-white;
Rose whose thoughts unfold gold petaled
Blossom in her sight;
Rose whose heart unfolds red petaled
Quick her slow heart’s stir;
Tell her white, gold, red my love is;
And for her, —for her.

Alain LeRoy Locke Alain LeRoy Locke (1885 – 1954) was an American writer, philosopher, educator, and patron of the arts. He is best known for his writings on and about the Harlem Renaissance. He is unofficially called the “Father of the Harlem Renaissance”. His philosophy served as a strong motivating force in keeping the energy and passion of the Movement at the forefront. Locke promoted African American artists, writers, and musicians, encouraging them to look to Africa as an inspiration for their works. He encouraged them to depict African and African American subjects, and to draw on their history for subject material.

Alain LeRoy Locke

Alain LeRoy Locke (1885 – 1954) was an American writer, philosopher, educator, and patron of the arts. He is best known for his writings on and about the Harlem Renaissance. He is unofficially called the “Father of the Harlem Renaissance”. His philosophy served as a strong motivating force in keeping the energy and passion of the Movement at the forefront.

Locke promoted African American artists, writers, and musicians, encouraging them to look to Africa as an inspiration for their works. He encouraged them to depict African and African American subjects, and to draw on their history for subject material.

romeyurhomey: “Beauty’s hair was so black… and soft… blue smoke from an ivory holder… was that why he loved Beauty… one can… or because his body was beautiful… and white and warm… or because his eyes… one can love…” – Richard Bruce Nugent

romeyurhomey:

“Beauty’s hair was so black… and soft… blue smoke from an ivory holder… was that why he loved Beauty… one can… or because his body was beautiful… and white and warm… or because his eyes… one can love…”

– Richard Bruce Nugent