The Harlem Renaissance was the artistic flowering of the Great Migration. As Duke Ellington wrote in “Drop Me Off in Harlem”:
I don’t want your Dixie,
You can keep your Dixie,
There’s no one down in Dixie
Who can take me ‘way from my hot Harlem.
Harlem has those Southern skies,
They’re in my baby’s smile,
I idolize my baby’s eyes
And classy uptown style.
Here are some of the songs that Steven Blier, in the article “Harlem, Billy Strayhorn . . . and me,” identifies as anthems of Harlem’s legendary tolerance for LGBTQ and gender non-conforming people.
“The Happy Heaven of Harlem” (Cole Porter), a place where “all lovin’ is free.”
“Lush Life,” perhaps Billy Strayhorn’s most famous song, with its clever and beautiful lyrics that are so expressive of what the Harlem nightclub scene was like; here it is inimitably performed by Johnny Hartman with the John Coltrane Quartet.
“Lotus Blossom,” performed by Duke Ellington and his orchestra.
Ethel Waters, in a show-within-a-show in the 1929 movie musical On With the Show (in other words, a meta-narrative, or a work of art that is self-consciously about art itself). Note that she is costumed in stereotypical Southern black field-hand garb, which she slyly dismisses in the number below, “Underneath the Harlem Moon.”
Underneath the Harlem moon, picking cotton may be taboo, but not, apparently, “the kind of love that satisfies.”
“Dinah,” which Blier calls “a love song to a woman”:
“Witness,” one of the many spirituals arranged by gay Harlem composer Hall Johnson, sung by Marti Newland:
Alberta Hunter singing “My Castle’s Rockin’,” which Blier notes “sounds like a lesbian anthem.”
The great Bessie Smith, singing some rather racy lyrics:
“In Harlem’s Araby” by Bessie Smith’s pianist, Porter Grainger:
“Worried Blues,” sung by Gladys Bentley, cross-dressing lesbian and Harlem Renaissance royalty.