Bulldaggers, pansies, and chocolate babies: performance, race, and sexuality in the Harlem Renaissance

Introduction: "It's getting dark on old Broadway"

"Gimme a pigfoot and a bottle of beer": parties, performances, and privacy in the "other" Harlem Renaissance(s)

"Harlem on my mind": New York's black belt on the Great White Way

"That's the kind of gal I am": drag balls, "sexual perversion," and David Belasco's Lulu Belle

"Hottentot potentates": the potent and hot performances of Florence Mills and Ethel Waters

"In my well of loneliness": Gladys Bentley's Bulldykin' blues

Conclusion: "You've seen Harlem at its best".

Introduction: "It's getting dark on old Broadway"

"Gimme a pigfoot and a bottle of beer": parties, performances, and privacy in the "other" Harlem Renaissance(s)

"Harlem on my mind": New York's black belt on the Great White Way

"That's the kind of gal I am": drag balls, "sexual perversion," and David Belasco's Lulu Belle

"Hottentot potentates": the potent and hot performances of Florence Mills and Ethel Waters

"In my well of loneliness": Gladys Bentley's Bulldykin' blues

Conclusion: "you've seen Harlem at its best."

Introduction: "It's getting dark on old Broadway"

"Gimme a pigfoot and a bottle of beer": parties, performances, and privacy in the "other" Harlem Renaissance(s)

"Harlem on my mind": New York's black belt on the Great White Way

"That's the kind of gal I am": drag balls, "sexual perversion," and David Belasco's Lulu Belle

"Hottentot potentates": the potent and hot performances of Florence Mills and Ethel Waters

"In my well of loneliness": Gladys Bentley's Bulldykin' blues

Conclusion: "you've seen Harlem at its best."