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Hillary’s historic moment
Long-time feminists say gender is a factor in this year’s race
Hillary Clinton enjoys strong support among lesbian feminists. (Photo by Gino Santa Maria; courtesy Bigstock)
Benghazi! Hillary’s e-mails! Trump! At danger of getting lost in the overheated discourse of this year’s U.S. presidential election is the historic fact that Hillary Clinton is now the first woman to capture a major-party nomination for president.
There was Shirley Chisholm (who ran for the Democratic nomination in 1972), Geraldine Ferraro (Walter Mondale’s running mate in 1984), even Sarah Palin (John McCain’s running mate in 2008), but no woman has ever come as close to the presidency as Hillary Clinton.
In the wake of this achievement, what does it mean for the lesbian community, a group that has always been one of her strongest supporters? And why has the historic nature of her candidacy felt like little more than a footnote this year?
Hillary fatigue?
Out political comedian Kate Clinton thinks it’s because Hillary has been around so long — since 1978. Still, she says, it’s exciting to see Hillary win the nomination.
“I think it’s absolutely very, very exciting,” Kate Clinton says. “And add to the fact that she is the first woman nominee for a major party, is astounding.”
As the first out lesbian and African-American mayor in the United States, Denise Simmons of Cambridge, Mass., is used to her gender, race and sexual orientation making headlines.
Simmons expected Hillary’s nomination to get much more attention than it’s received. She agrees with Kate Clinton’s assessment.
“I do wonder if perhaps part of this is simply because she has been a national figure for such a long time,” Simmons says. “And therefore the sense of novelty just isn’t there.”
Elizabeth Birch, who served as executive director of the Human Rights Campaign from 1995-2004 and is also a friend of Clinton’s, says Clinton does not want the fact that she’s a woman to be the sole reason for anyone to vote for her.
“I think that’s why she’s been painstaking about amassing her credentials over the last two decades,” Birch says. “She absolutely wants [her election] to be on her merit, but nevertheless, none of us should forget what an extraordinary breakthrough this will be.”
Clinton’s gender, Birch says, is treated like a distraction from the “political theater” going on.
Blues singer and LGBT and black rights activist Gaye Adegbalola agrees with Birch. She thinks Clinton’s nomination isn’t headline news because Trump has “hijacked” the headlines.
“He’s the story,” Adegbalola says.
Kate Clinton says that any time some excitement is generated for Clinton, Trump will say something controversial, Benghazi and the email scandal are brought up and Americans become fixated on her purported failures.
“The Koch brothers, who, I like to call the cock brotherhood, have targeted money to just make her unfavorable, untrustworthy,” Kate Clinton says.
Kate Clinton says accusations that Hillary Clinton is untrustworthy are ‘absurd.’ (Blade file photo)
Trust issues
Kate Clinton says the fact that Hillary Clinton is painted as untrustworthy in the news media is absurd.
But, in many recent polls, conducted by the Huffington Post, pollingreport.com and CNN, many Americans say they do not trust Hillary Clinton.
Is the lack of trust in Hillary because of her politics, or could it be attributed to sexism?
Birch doesn’t think so.
“My diagnosis is that Hillary Clinton is extremely private for someone in the public sphere,” she says. “And she has, throughout her life, had unrealistic expectations for privacy.”
Birch says that in trying to protect her privacy and keep her life and decisions under wraps, Clinton has been misread.
“The level of transparency that’s required when you are in a position like the various positions she’s been in … all those steps she took to preserve privacy only lead to more problems,” she says. “You know, it’s never the actual crime, it’s always the cover-up.”
This, according to Birch, has always been Clinton’s downfall.
“The Clintons, as political figures, have certainly been guarded at many points throughout the past three decades, often with good reason,” Birch says. “And unfortunately this has opened Hillary Clinton to charges of having something to hide.”
Simmons disagrees with Birch. She says the lack of trust among voters has a lot to do with gender.
“Any time a female candidate is painted as untrustworthy, or shrill or calculating, one does wonder whether there is some sexism at play,” Simmons says.
Rev. Elder Darlene Garner, minister and LGBT activist and co-founder of the National Coalition of Black Lesbians and Gays, makes a different assessment. She blames populism for Clinton’s perceived untrustworthiness.
“I think it is blatant populism that masks sexism, that masks homophobia and transphobia, that masks racism and nationalism,” Garner says.
Adegbalola says that anyone who’s been in Washington as long as the Clintons will undoubtedly amass some “dirt,” but she says this is just how politics works.
“There has to be some bargaining and there has to be some, ‘I’ll kiss your ass, you kiss mine,’ kind of stuff that goes on,” she says.
When Hillary Clinton ran against Barack Obama in 2008, Adegbalola donated $25 to her campaign.
“I was all, you know, ‘Yay, a woman can do this,’ and then Barack started running and I was so in favor of him,” Adegbalola says. “Not necessarily because he was a black man, but because he hadn’t been in D.C. [for long].”
She also liked that he had worked for social justice in Chicago and that he had not been in the U.S. Senate for long.
“My excitement with him was that he was an outsider,” she says. “So now, here you got Trump, who comes along and he’s really an outsider and an asshole, but I think a lot of people take to him for that very reason, that he’s an outsider.”
Adegbalola thinks it’s hypocritical, however, for people to distrust Clinton but not Trump.
“Anybody who makes all that money,” Adegbalola says, “they’ve got to be doing some shady stuff, too.”
She’s astonished by how successful Trump has been.
Garner is surprised too and thinks that Trump’s success reveals the continued work for justice and equality that needs to be done.
“As a movement we have focused on legislative gains and have not given much attention to the quality of our relationships with one another,” Garner says.
Kate Clinton, on the other hand, does not think it’s surprising that Trump has been so successful. She is tired of people, especially Republicans, acting as if he is not representative of certain American beliefs.
She views Trump as a joke who desperately wants to be taken seriously.
“That’s where the danger is,” she says.
Kate Clinton believes that Trump’s desire to be taken seriously boiled over at the White House Correspondents Dinner in 2011. Obama referred to Trump’s threat to run for president at that dinner as a “joke.” Kate Clinton theorizes that Obama’s barrage of jokes at Trump’s expense is what propelled him to run.
“I really think that was the moment he decided, ‘I am not going to have a black man making fun of me,’” Clinton says.
Birch describes Trump as “dangerous.”
“I think the way that human society stays in equilibrium is to have extremely predictable institutions and leaders,” Birch says. “[If leaders] innovate somewhat in the structure of the institutions, I think humans don’t want jarring abrupt moves and they don’t want emotions stirred, played on and exploited.”
Trouble ahead?
Birch says unpredictable leaders bring problems.
“I think that waves move through every community and I think that his rhetoric has given license to some of this more acute tension in our country right now,” she says.
Simmons agrees.
“I find it incredibly disappointing that one of our major parties would see fit to nominate him to potentially lead the country,” she says. “He could do tremendous damage to our nation on a number of fronts.”
Adegbalola says a Trump presidency could be cataclysmic.
“I think it’s going to be even more divisive for America,” she says. “I think it’s going to widen the gaps between people of color and whites and marginalized people and the white establishment. I’m sure he has a lot of confederate flags in that audience, I’m sure.”
Kate Clinton cites Trump’s nomination of Mike Pence for vice president as representative of his disregard for the rights of marginalized people.
“Pence is hideous toward women,” she says.
Pence came to national attention in 2006 when he said that LGBT couples represented a “societal collapse” in the United States. He has often referred to being gay as a choice and same-sex partnerships as a violation of “God’s idea.”
He made national news again in 2011 when, as a member of Congress, he pushed for a bill to defund Planned Parenthood. In May, Pence rejected the Obama administration’s directive for school districts to allow students to use the bathroom for the gender they identify with saying the Obama administration had no business getting involved in “issues of this nature.”
Adegbalola also points out what could happen to the Supreme Court if Trump is elected.
Despite all this, there are still many people who look at Hillary Clinton’s past and are disturbed by her voting patterns.
In 1996, she supported the Defense of Marriage Act that defined marriage for federal purposes as the union between one man and one woman, and allowed states to refuse to recognize same-sex marriages performed under the laws of other states. Her support for the bill haunted her for two decades.
Kate Clinton says that the LGBT community needs to remember that she was not president when the act was passed.
“That was her husband,” Clinton says. “I think she was pretty representative of very political people weighing everything, trying to figure out and trying to say the right thing at the right time and that killed her career.”
In a campaign that many say is structured around humiliation and elitism, Garner says that voting for Hillary Clinton is important.
“I believe that she is a champion for human dignity and justice and I would expect that as president she would continue to do the same,” she says.
She cites Clinton’s attitudes toward children as proof that her presidency would benefit LGBT families.
“Her support of health care and even continued health care reform, will benefit all of us, including women,” Garner says. “And her economic policies will also benefit women, who are still underpaid in the American work force, and her presidency will be a direct benefit to lesbians as well as to all women.”
Adegbalola cites her own experiences as a self-employed musician and cancer survivor as one of the main reasons she plans to vote for Clinton. She says that in 2008 she was paying more than $700 a month for cancer treatment.
The Affordable Care Act, she says, is of paramount importance to her and she knows that under Clinton, Obama’s work will continue.
Birch says that growing up in Canada and seeing Queen Elizabeth’s picture hanging on the wall in all of her elementary school classrooms and having a female principal, made her think that women were in charge.
“I just thought, ‘Oh yeah my name is Elizabeth, the queen is Elizabeth, I guess I can go far,’” she says. “The psychological impact it will have on inspiring and lighting fires in young women … we can never underestimate it.”
Adegbalola, however, says at this point she is over Clinton’s gender.
“I’m simply looking at who would I vote for between the two,” she says. “[It’s] Hillary, there’s no question. And she’s smart and she’s been there, she’s paid her dues.”
Adegbalola doesn’t feel that anyone in the Republican Party, including Trump, would do anything to look out for marginalized people.
“I’m black, I’m poor, I’m a woman, I’m a lesbian, I’m a single parent, I’m old,” she says. “[That’s] like six kinds of oppression, so they might lock me up in a concentration camp.”
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Taste of Pride celebrates LGBTQ and allied restaurants
Weeklong event will feature local eateries and bars
Get ready to celebrate LGBTQ-owned, managed, and allied restaurants at Taste of Pride from Oct. 2-8.
The weeklong event is a new initiative by Capital Pride Alliance. In 2021, the organization put on a single-day brunch event in June at LGBTQ and allied restaurants, but this is the first weeklong iteration.
About 15 local restaurants and bars are set to participate, including As You Are, Shaw’s Tavern, Jane Jane, and Code Red. There’s also an opening party on Monday, Oct. 2 featuring food and drink vendors without a traditional brick-and-mortar space, like Suga Chef and Vegan Junk Food.
Taste of Pride will raise funds for the Pride365 fund, which supports local LGBTQ organizations. There will be a three-course prix fixe menu at several of the participating locations, with lunch and brunch menus offered at $30, and dinner menus offered at $40 or $55.
Kareem Queeman, known as Mr. Bake, will be headlining the opening event on the evening of Oct. 2 at Lost Generation Brewery. Queeman, the founder and owner of the renowned bakery Mr. Bake Sweets and a James Beard Award semi-finalist, said he’s excited to spotlight LGBTQ chefs and mixologists.
Queeman said he’s proud to be a part of bringing queer culinary experts together to celebrate the work they’ve all done and discuss what changes need to come to the industry — there will be a panel discussion on Oct. 2 covering those topics. LGBTQ chefs have long gone unnoticed, he said, despite the innovative work they’ve done.
“Queers have been in the industry doing the work for a very long time and we just haven’t really gotten that acknowledgment,” Queeman said.
Providing this space for LGBTQ people in the restaurant industry is paramount to giving a sense of power and ownership in the work they do, Queeman said. He wishes there was this kind of space for him when he was coming up as a chef when he was younger.
Taste of Pride is also a great opportunity for LGBTQ people looking to get into the industry to find safe spaces to work that are run by queer people, Queeman said.
Rob Heim, the general manager at Shaw’s Tavern, said he’s looking forward to being a part of the event. And new fall menu items at Shaw’s Tavern will be available during Taste of Pride, which he’s thrilled to showcase.
“I was really excited to help out and participate,” he said. “It’s a great idea.”
The smaller number of participating restaurants in Taste of Pride is intentional, said Brandon Bayton, a volunteer executive producer organizing Taste of Pride. It’s so each restaurant can be well-represented during the week, and different restaurants will be highlighted on social media on separate days. Capital Pride Alliance is also partnering with influencers to get the word out.
Visibility — all year long
It’s important to have events like Taste of Pride outside of June, Bayton said.
“We exist 365 days,” Bayton said. “So we need to make sure that we continue the celebration and invite others to celebrate with us and just be authentically ourselves. We enjoy and do a lot of things other people do. There’s no reason why we should just be constrained to one month.”
Queeman agrees. His identity as a queer Black man doesn’t stop or start at any given month.
“I’m not just a queer or gay man in June or I’m not just a Black man in February,” he said.
And food is a major intersection that all people of all identities enjoy, Bayton said. It’s a simple way to bring people together.
“We do the exact same things that everyone else does,” Bayton said. “We all eat. We all love to eat.”
Taste of Pride will run from Oct. 2-8. For more information and to make reservations, visit capitalpride.org/event/taste-of-pride.
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Hip-Hop’s complicated history with queer representation
At 50, experts say the genre still doesn’t fully welcome LGBTQ inclusion
I didn’t really start listening to rap until my college years. Like many queer Black children who grow up in the closet, shielded by puritanical Christianity from the beauty of a diverse world, I longed to be myself. But the affirming references I could pull from — in moments of solitude away from the wrath and disdain of family and friends — were in theater and pop music.
The soundtrack to my teenage years was an endless playlist of pop divas like Lady Gaga and Beyoncé, whose lyrics encouraged me to sashay my hips anytime I strutted through a long stretch of corridor.
I was also obsessed with the consuming presence of powerful singers like Patti LaBelle, Whitney Houston, and the hypnosis that was Chaka Khan. My childhood, an extrapolation of Tuesdays, Thursdays, Saturdays and Sundays spent in church groups, choir practices, and worship services, necessitated that I be a fan of throaty, from-the-stomach singing. But something about the way these artists presented themselves warmed my queer little heart. LaBelle wore avant garde geometric hairdos paired with heavily shoulder-padded blazers. Houston loved an elegant slender gown. And Khan? It was the voluminous red mane that gently caressed her lower back for me.
Listening to rap music in college was a political experience. My sociology classes politicized me and so it was only natural that I listened to rap music that expressed trauma, joy, and hope in the Black experience. However, I felt disconnected from the music because of a dearth of queer representation in the genre.
Nevertheless, groups like Outkast felt nostalgic. While delivering hedonistic lyrics at lightning speed, André 3000 — one half of the rap duo — mesmerized with his sleek, shoulder-length silk pressed hair and colorful, flowing shirts and trousers — a style that could be translated as “gender-bending.” Despite the patriarchal presentation rampant in rap and Hip-Hop, André 30000 represented to me, a kind of rebellious self-expression that I so badly wanted to emulate but couldn’t because of the psychological confines of my conservative upbringing.
My discovery of Outkast was also sobering because it was a stark reminder of how queerness is also often used as an aesthetic in Hip-Hop while actual queer people are shunned, rebuked, and mocked. Queer people in Hip-Hop are like backstage wingmen, crucial to the development of the show but never important enough to make a curtain call.
As Hip-Hop celebrates 50 years since its inception in New York City, I am filled with joy because it’s been half a century of Black people owning their narratives and driving the culture. But it’s fair to ask: At whose expense?
A viral 2020 video shows rapper Boosie BadAzz, famed for hits like “Set It Off” and “Wipe Me Down,” rebuking NBA star Dwayne Wade and award-winning actress Gabrielle Union-Wade for publicly supporting their then-12-year-old daughter after she came out as transgender.
“Don’t cut his dick off, bro,” said BadAzz with furrowed eyebrows and a gaze that kept turning away from the camera, revealing his tarnished diamond studs. “Don’t dress him as a woman dawg, he’s 12 years. He’s not up there yet.”
The responses from both Wade and Union-Wade were a mixture of swift, sarcastically light-hearted, and hopeful.
“Sorry Boosie,” Union-Wade said to an audience during a live podcast appearance at Live Talks Los Angeles. “He’s so preoccupied, it’s almost like, ‘thou doth protest too much, Little Boos.’ You’ve got a lot of dick on your mind.”
Wade also appeared on an episode of podcast, “I AM ATHLETE,” and looked directly into the camera.
“Boosie, all the people who got something to say, J-Boogie who just came out with [something] recently, all the people who got something to say about my kids,” he said. “I thank you because you’re allowing the conversation to keep going forward because you know what? You might not have the answers today, I might not have the answers, but we’re growing from all these conversations.”
This exchange between the Wades and BadAzz highlights the complicated relationship between Black LGBTQ individuals and allies and the greater Hip-Hop and rap genres and communities. While Black queer aesthetics have long informed self-expression in Hip-Hop, rappers have disparaged queerness through song lyrics and in interviews, or online rants like BadAzz, outside the recording studio.
And despite LGBTQ rappers like Queen Latifah, Da Brat, Lil Nas X, and Saucy Santana achieving mainstream success, much work lies ahead to heal the trauma that persists from Hip-Hop’s history of patriarchy and homophobia.
“‘Progression’ will always be relative and subjective based on one’s positionality,” said Dr. Melvin Williams said in an email. Williams is an associate professor of communication and media studies at Pace University. “Hip-hop has traditionally been in conversation with queer and non-normative sexualities and included LGBTQ+ people in the shaping of its cultural signifiers behind the scenes as choreographers, songwriters, make-up artists, set designers, and other roles stereotypically attributed to queer culture.”
“Although Hip-Hop incorporates queerness in their ethos, ideas, and trends, it does not privilege the prospect of an out LGBTQ+ rapper. Such reservations position LGBTQ+ people as mere labor in Hip-Hop’s behind-the-scenes cultivation, but not as rap performers in its mainstream distribution,” he added.
This is especially true for Queen Latifah and DaBrat who existed in the genre for decades but didn’t publicly come out until 2021. Still, both faced backlash from the Black community for daring to challenge gender roles and expectations.
Lil Nas X also faced backlash for his music video “Montero” with satanic references, including one in which he slides down a pole and gives a character representing the devil a lap dance. Conservatives such as South Dakota Gov. Kristi Noem accused him of trying to scandalize children.
“You see this is very scary for me, people will be angry, they will say I’m pushing an agenda. But the truth is, I am,” Nas X said in a note that accompanied “Montero.” The agenda to make people stay the fuck out of other people’s lives and stop dictating who they should be.”
Regardless, “Montero” debuted atop the Billboard 100.
In an article published in “Souls: A Critical Journal of Black Politics, Culture, and Society,” scholar C. Riley Snorton posited that celebrating queer visibility in mainstream media could be a problem as this kind of praise relies on artists presenting in acceptable forms of gender and sexuality expression and encourages representation that is “read alongside…perceptions of Hip-Hop as a site of Black misogyny and homophobia.”
In the case of Frank Ocean, who came out in 2012 prior to the release of his album “Channel Orange,” his reception was warmer than most queer Hip-Hop artists because his style of music is singing, as opposed to rapping. Because of this, his music was viewed more as R’n’B or pop.
“Frank Ocean ain’t no rapper. He’s a singer. It’s acceptable in the singing world, but in the rap world I don’t know if it will ever be acceptable because rap is so masculine,” rapper Snoop Dogg told the Guardian in 2013. “It’s like a football team. You can’t be in a locker room full of motherfucking tough-ass dudes, then all of a sudden say, ‘Hey, man, I like you.’ You know, that’s going to be tough.”
So what’s the solution for queer people in Hip-Hop? Digital media.
Williams, the Pace University professor, says that being divorced from record labels allows queer artists to be independent and distribute their music globally on their own terms.
“We witnessed this fact with artists such as Azealia Banks, Cakes Da Killa, Fly Young Red, Kevin Abstract, iLoveMakonnen, Lil Nas X, Mykki Blanco, and Saucy Santana, as well as legacy LGBTQ Hip-Hop acts like Big Freeda, DeepDickCollective, and Le1f,” he said. “The music industry has experienced an increasingly mobilized market due to the rise of digital media, social networking platforms, and streaming services.”
“More importantly, Black queer Hip-Hop artists are historicizing LGBTQ+ contributions and perspectives in documentaries, films, news specials, public forums, and podcasts. Ultimately, queer people engaging in Hip-Hop is a revolutionary act, and it remains vital for LGBTQ+ Hip-Hoppers to highlight their cultural contributions and share their histories,” he added.
(Hip-Hop pioneers Public Enemy and Ice-T will headline The National Celebration of Hip-Hop, free concerts at the West Potomac Park on the National Mall in D.C. on Oct. 6 and 7.)
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Cuisine and culture come together at The Square
D.C.’s newest food hall highlights Spanish flavors
Downtown got a bit tastier when “the next generation of food halls” opened its doors on Tuesday near the Farragut West Metro stop. Dubbed The Square, its half-dozen debut stalls are a Spanish-flecked mix of D.C. favorites, new concepts, and vendor-collaborative spirit.
After two years of planning – and teasing some big-name chefs – the market is, according to the owners, “where cuisine, culture, and community are woven together.”
Behind this ambitious project with lofty aims are Richie Brandenburg, who had a hand in creating Union Market and Rubén García, a creative director of the José Andrés Group who also was part of the team of Mercado Little Spain, the fairly new Spanish-themed Andres food hall in Hudson Yards.
Food halls have come a long way since the new Union Market awakened the concept a decade ago. Instead of simply rows of vendors in parallel lines, The Square has a new business model and perspective. This food hall shares revenue between the owners and its chef partners. Vendors are encouraged to collaborate, using one software system, and purchasing raw materials and liquor at scale together.
“Our goal was two-fold: to create a best-in-class hospitality offering with delicious foods for our guests; and behind the scenes, create the strong, complex infrastructure needed to nurture both young chefs and seasoned professionals, startups, and innovation within our industry,” says Brandenburg.
The Square has embraced a more chef-forward methodology, given that the founders/owners themselves are chefs. They’re bringing together a diverse mix of new talent and longtime favorites to connect, offer guidance to each other, and make the market into a destination.
The first phase of The Square premiered this week. This phase encapsulates a selection of original concepts from well-known local chefs and business owners, and includes:
• Cashion’s Rendezvous – Oysters, crab cakes, and cocktails, from the owners of D.C. institutions and now-closed Cashion’s Eat Place and Johnny’s Half-Shell (Ann Cashion and John Fulchino).
• Jamón Jamón – Flamenco-forward food with hand-cut jamón Iberico, queso, and croquetas, sourced by García himself.
• Brasa – Grilled sausages and veggies are the stars here. Chef García oversees this Spanish street-food stall as well.
• Taqueria Xochi – Birria, guisado, and other street tacos, plus margs. Named after the ruins of Xochitecatl in Central Mexico, and from a Jose Andres alum.
• Yaocho – Fried chicken, juices, sweets, and libations.
• Junge’s – Churros and soft serve ice cream. Brandenburg and García both have a hand in this stall.
• Atrium Bar – The central watering hole for drinks. Atrium Bar serves cocktails, wine, and beer curated by The Square’s Beverage Director Owen Thompson.
“Having been part of Jose Andres’s restaurant group and getting to know Ruben and Richie, it’s amazing to see how their values align with ours at Taqueria Xochi. Seeing all these incredible chefs heading into Square feels like a full-circle moment,” said Geraldine Mendoza of Taqueria Xochi.
Slated for fall 2023, the next round of openings includes Flora Pizzeria, Cebicheria Chalaca, KIYOMI Sushi by Uchi, Shoals Market (a retail hub), and more. Additionally, chef Rubén García’s Spanish restaurant, Casa Teresa, will soon open next door to The Square.
The Square is just one of a handful of new food halls blossoming in and around D.C. Up in Brentwood, Md., miXt Food Hall is an art-adjacent space with tacos, a year-round fresh market, coffee, and beer. Across from Union Market is La Cosecha, a Latin marketplace with everything from street food to a Michelin starred restaurant and a festive vibe. Closer to The Square is Western Market by GW University, which opened in late 2021 with a buzzy, relaxed style.
For now, the Square is open Monday through Friday, 11 a.m. to 3 p.m. The Square plans to open on weekends and extend hours to offer dinner service in the coming months. A few alfresco seats will accompany the hall.
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