It was perhaps ironic that Little Richard and Roy Horn (of Siegfried & Roy) died within hours of each other this month. Though they were from totally separate pop culture factions, seeing their obits side by side in some outlets, such as the May 10 New York Times, was a sobering reminder of how an older generation of gay men — Horn, who died at 75 was on the outer cusp of the Boomers; Richard was 12 years older — dealt with (or didn’t deal with) their sexuality in a pre-Stonewall era when practically nobody was officially out but demeanor, style, stage persona and more “read” gay to middle America the same way sexual innuendo was implied in early jazz and movies long before it was discussed or depicted openly.
Little Richard (Richard Wayne Penniman was his legal name) was known for a string of ’50s hits like “Tutti Frutti” and “Long Tall Sally” whose impact went far beyond their initial chart peaks. Richard has been widely lauded as a rock and roll innovator and the first pop star to integrate black and white audiences in a time of rigid segregation in music and society. He died May 9 from bone cancer at his home in Tullahoma, Tenn., after a two-month illness. He was 87.
Horn came to fame with his nearly life-long professional (and for a time personal) partner Siegfried Fischbacher, who were known for their flashy Las Vegas act in which they made lions and tigers (and each other) vanish and reappear. They came to Vegas in 1967 and had a sellout run at the Mirage Resort and Casino from 1990-2003 that found them performing 500 shows yearly. By 1999, the show had grossed half a billion dollars and they were Vegas’s highest-paid entertainers.
Sadly, their careers ended abruptly on Oct. 3, 2003 (Horn’s birthday) when one of the tigers attacked Horn resulting in serious injury. Suffering a stroke and partial paralysis on his left side, Horn was eventually able to walk with assistance but never performed again. The duo made one final public appearance in 2009 with a tiger at a benefit for the Lou Ruvo Center for Brain Health in Las Vegas, the Times reported, before retiring officially in 2010. Horn died of COVID-19.
The duo (both German immigrants) only officially came out in 2007 in a National Enquirer article that announced “We’re gay” on the cover. They gave few interviews (even in their heyday) and could be testy about it when pressed.
Behind the glitz
But with their over-the-top costumes (including Roy’s trademark codpiece), ostentatious Vegas home and inseparable public image (and never a hint that either might be involved romantically with anyone else), they didn’t have to state it explicitly. They donned capes and silver space suits, battled a sorceress and a fire-breathing dragon amidst smoke machines, lasers and, of course, lions and tigers, many of which were white, which are uber rare. Their act had a Liberace-esque flair to it, even if neither were ever quite that fey. Siegfried was the magician; Roy the animal trainer. They presented a yin/yang-type persona and lived together at Jungle Palace, an eight-acre Vegas estate (a much larger ranch was just outside the city proper) with, as of 1999, 55 tigers and 16 lions. Horn was the “Tiger King” decades before anybody heard of Joe Exotic (also gay) of the hit Netflix series.
“So you go deeper and say what is going on in my bedroom and in Roy’s bedroom,” Fischbacher said in a 1999 Vanity Fair profile. “I don’t care, I don’t know. I tell you this because this is me and I wouldn’t ask what you do with your dick either.”
Both said they were “very honored” to be considered gay icons but spoke of gay as “other.”
“I have a lot of friends who are gay and I made a lot of friends in show business and I found out that they are always interesting, intelligent and good people and fun to be with,” Fischbacher told Vanity Fair.
“I am flattered to think that people think that I am versatile,” Horn said. “You don’t have to define everything and I don’t want to disillusion people because I’m not a guy who kisses and tells.”
Pal Shirley MacLaine told the magazine they “used to be lovers a long time ago, yeah? In this day and age, who cares?”
Mainstream media only coyly touched on Horn’s sexuality. The Times said Fischbacher and Horn “were domestic as well as professional partners” but left it at that. Journalist Steve Friess, who in The Advocate called them “the world’s most openly closeted celebrities,” said a Mirage spokesperson told him the night of Horn’s attack that “it’s well known that they were lovers at one time.”
They were said to have little presence in Vegas gay life, according to Friess and others, and outside of buying an ad in a program book for an AIDS fundraiser, were not known to have used any of their vast wealth to support LGBTQ rights.
For some, that’s not a problem.
Milt Larsen, founder of The Magic Castle, a private club for magicians and enthusiasts in Hollywood, is 89, straight and knew Siegfried and Roy for many years, initially through his late sister-in-law, Irene Larsen. She and her husband Bill Larsen (Milt’s brother) loved magic and animals and discovered Siegfried & Roy in their early years in Vegas. Larsen later met the duo through his brother and sister-in-law and says Horn was “a dear, great friend.”
“Before Siegfried & Roy, magicians were very seldom anything other than an opening act,” Larsen says. “They came along and went from being an opening act to the headliner with their own huge show because it was so popular. … They were the best.”
Larsen’s friend Dale Hindman also know Siegfried & Roy and says he was at their house several times. He says Roy “fought like crazy” to recover and “they had the best medical people” working with him. He did daily physical therapy, swam and would zip around the grounds on a scooter. He recalls one Vegas convention in which Horn made a rare, post-accident appearance and walked to the podium.
“There wasn’t a dry eye in the house,” Hindman says. “I saw him a number of times at different places. He was in the scooter, he would talk, he loved people, he had great quality of life and they had the resources to have the best medical care. It’s such a shame that something like this virus came along and killed him.”
Larsen and Hindman say Horn’s sexuality was understood but “never really discussed.”
“I’ve been in show business a long time and sometimes it feels like just about everybody I’ve ever known was gay,” Larsen says with a laugh. “It was a different world then. I just don’t recall anybody ever talking much about it.”
Hindman says it was generational and gradual when more celebrities started coming out officially. Larsen says Fischbacher, especially (whom he calls a “great” businessman), just “never made a big point of it.”
“They were a couple in the sense that they were absolute partners in what they did and that their lives were their business,” he says. “People are people and in the world we live in today, it’s just not questioned as much.”
Larsen remembers “many, many times” being backstage in their Vegas dressing room post-show.
“The Champagne would be flowing and there were lots of wonderful friends,” Larsen says. “[Roy] was very, very gregarious and he and Irene really got to know each other and became wonderful friends.”
“There would be drinks and hors d’oeuvres and plenty of people,” Hindman says. “After awhile, Roy would go play with the animals. Siegfried would say, “I’m tired but you all stay as long as you want.’”
Out magician/actor Michael Carbonaro, 44, of reality show “The Carbonaro Effect,” said in a written comment to the Blade it didn’t matter if Siegfried & Roy were coy about their sexuality.
“I actually don’t know what Siegfried & Roy ever did or didn’t put into words,” he said. “I grew up seeing two gorgeous men living their magic dreams in bedazzled outfits, so they were always an iconic form of queer inspiration.”
Others, however, aren’t willing to let them off the gay hook so easily. It’s unfair and unrealistic to expect everyone to have been a Frank Kameny or Barbara Gittings, but as time went on, many argue prominent gays should have done more for the cause.
Matthew Rettenmund, a gay blogger and pop culture historian/author, says Horn’s approach to being “out” reminds him of singer Barry Manilow who finally came out in 2017 at age 73 after decades of evading the question.
“They’re men who have convinced themselves that being gay in private is the same thing as being out,” he said in an e-mail. “Which is simply not true. I do hope that as the Rip Taylors and Richard Simmonses of the world leave us, as sad as it is to lose their talent, that they won’t be replaced by more of the same. Hiding in plain sight is still hiding and it still sends such a warped message of self-acceptance.”
Long-time gay Vegas resident/historian Dennis McBride says he can see where both sides of the issue were coming from.
“Siegfried and Roy were never involved in the Las Vegas queer community in any public way I’m aware of,” McBride wrote in an e-mail to the Blade. “They were much like Liberace in that respect — they were Las Vegas icons, counted Las Vegas as their personal and professional home, but deeply closeted because they came of age and established their careers during a time when they could have been jailed for being gay and lost those very lucrative careers. I remember there was some resentment in the community because we needed role models — particularly in the 1980s and early 1990s during the worst of the AIDS pandemic — and both Liberace and Sigfried & Roy might have been a great help in our struggle, brought credibility and support to our fight. I don’t think any of us entirely blamed them, though, because we were all in danger then ourselves as queer people.”
And while Richard stated he was gay explicitly on multiple occasions, he was never at peace with it and at multiple times in his career recorded gospel music and even for a time sold Bibles in a repudiation of the rock and roll and gay “devil’s” music and “lifestyle.” For him, being gay was a vexation and something to be overcome, which is, to some, even more troubling than Horn’s avoiding the issue.
“The problem is his religiosity and self doubt forced him back in the closet just as many times, “Rettenmund wrote. “And though he camped it up to earn a living in his final decades, it was homophobia that won. He died an ‘ex-gay,’ a sad loss.”
Richard was married to a woman from 1957-1964. They had one adopted son. As recently as 2017, he was condemning gay sex. “God, Jesus, he made men, men, he made women, women, you know? And you’ve got to live the way God wants you to live,” Richard told the Three Angels Broadcasting Network, a religious channel, reported by The Advocate.
Gay author/actor Michael Kearns (who’s been on “Cheers,” “Murder, She Wrote,” “The Waltons,” “Knots Landing” et. al. and has said in interviews and books he had sex with Rock Hudson and Barry Manilow) says Richard deserves a more compassionate assessment.
“I don’t know how much gay sex he was having, but for me it was all about him having such a gay persona,” Kearns says. “I think what young men like me found so stirring and exciting is that it gave us something to grasp onto. Here was this sissy, this exciting, flamboyant, theatrical, wild persona and yeah, he later had the doubts and went back into the closet as a religious fanatic, well, of course he did. He was a black man from the South dealing with all that church stuff. I mean that’s a big struggle and I think people just don’t give him enough human credit for battling that publicly.”
McBride says after their performing years, Sigfried & Roy were occasioally seen in Vegas’s gay spots. They separated romantically in 1996, he says, when Fischbacher got his own house in Spanish Trails. In more recent years, after Horn’s accident, speaking out for gay causes wouldn’t have carried as much weight, he says.
“No one really cared by then,” McBride says. “The moment when their honesty mght have made a positive difference to the Las Vegas queer community had long passed and so had the careers they might have lost if they’d come out earlier.”
He says they were “largely circumspect” but “we still saw them discreetly out and about.”
“Even before (they broke up), when we saw them in the community, it was usually separately,” he says. “The two of them would visit the Le Cafe nightclub in the 1970s which then stood on the northwest corner of Tropicana Avenue and Paradise Road. The club’s lesbian owner, Marge Jacques, counted them as friends. In the 1980s, separately or together, they’d come to Gipsy, which then was an upscale dance club on Paradise Road and Naples Drive.”
They were also spotted occasionally at seedier gay spots, McBride says.
“Roy seemed to enjoy the Talk of the Town adult bookstore when it was in the Crestwood Shopping Center on East Charleston Boulevard and one or the other was occasionally seen at the Camp David bath house on Industrial Road,” he says. “But mostly, they and their circle of gay friends — which included Liberace and Hans Klok, who came out about the same time Sigfried & Roy did in 2007, and their protege, Darren Romeo, who just came out during his run in Pigeon Forge, Tenn., — kept themselves pretty much sequestered at Little Bavaria back in the day. I think the idea of a queer community was alien to them, outside their experience, maybe even distracting and a bit threatening.”
Gospel music producer/historian Anthony Heilbut has written at length about how black Christian denominations have shamed or welcomed queer musicians to varying degrees in the ‘50s, ‘60s and prior. He knew Little Richard — not well, but they’d met on several occasions — and says one must consider the era when deciding how much blame to assign him. He wanders into another room of his New York apartment during a phone interview last week and puts on a recording of gospel singer Marion Williams (1927-1994), who for a time was in The Famous Ward Singers, helmed by Clara Ward (one of Aretha Franklin’s major influences) and who also had a significant solo career. He holds the phone up to a recording of her whooping and hollering and it’s easy to see where Little Richard got some of his inspiration. Richard appeared at the Kennedy Center Honors when Williams was inducted.
“His phrasings and his timbre and even his ballad singing, and he was a great ballad singer although we typically think of him as this sort of rock and roll clown, all that came from Marion Williams,” Heilbut, who’s gay, says. “You can’t copyright phrasings. That’s what singers could take from each other.”
Heilbut also says Richard, whom he first met in 1961 and says he’s “one of the very few people who ever saw him sing on a gospel program,” says Richard’s gospel singing career was never terribly convincing or memorable partially because he came from a staid denomination (Seventh Day Adventist, not nearly as musically rowdy as black Baptists and those in the Sanctified Church) and the fact that it was performed more dutifully than his rock and roll material.
“He was singing, ‘I quit show business and I wanna go straight/I wanna serve the Lord before it’s too late,’” Heilbut says. “His singing was very bland. There was more of the real gospel drama in his R&B and rock music.”
Heilbut also says Richard admired Williams in the traditional way gay men have worshiped show-stopping divas. He remembers seeing Richard at a Nashville studio when Heilbut was producing one of Williams’ later recordings. He mimics Richard’s speech patterns, recalling the conversation: “‘Is she still fabulous? Do she still make notes? I makes notes. I heard she preaching. I preaching too. … She always war my heart, she know, she know. I’ve been singing like her down through the years. Mahalia good, but Marion always were my singer.’”
Heilbut also says Richard’s various stints in gospel music robbed his career of momentum in rock. As respected as he was among rock pioneers, he’s almost wholly associated with his ‘50s heyday. Attempts at secular music comebacks in the ‘60s and ‘70s could not come close to matching his peak period.
“He made some very lovely records later and he could be a wonderful singer, but by then the audience had changed,” Heilbut says. “The train had passed.”
Later in life, Heilbut says, Richard was seen socializing in gay bars. He never personally saw him but says friends reported him being “the belle of the ball” at St. Louis gay bars on various occasions.
Richard, whom Heilbut says “always struck me as very goofy,” was ultimately “just incredibly confused.”
Roy, Richard ‘lacked courage’
Gay activist/entrepreneur Mitchell Gold, who like Siegfried & Roy, knows something about being linked for life to a former partner — he and business partner/former domestic partner Bob Williams formed their eponymous furniture company Mitchell Gold+Bob Williams in 1989, which they continue to run jointly. He says celebrities holding onto or returning to the closet are a reminder of “how horrible these religious teachings are, how toxic.”
“I don’t even know what it’s like to live like that,” Gold says. “I was tortured about it until I was 24, 25 but then that was the end of it. These guys who live their whole lives having to be careful about that they said, it’s just horrible. I don’t know as much about Siegfried & Roy except that after awhile it just gets to be ridiculous, like the Barry Manilow thing was for so many years.”
Gold understands Richard not being out in the ‘50s or Siegfried & Roy at the advent of their careers but later in life, once they were financially secure, he says they “lacked courage.”
“I never cared if we lost money for being out,” Gold says. “I don’t have to be a gazillionnaire. If I make less, I make less and it’s the same for Siegfried & Roy. At some point they had plenty of money and so why wouldn’t they speak out for people who aren’t being sheltered the way they are and are forced to live a closeted, unhealthy life. The only thing I can say is I don’t think these folks even know what a healthy life looks like.”
Gay journalist/author Michael Musto agrees.
“It’s partly generational, though many of their generation ended up being belatedly but wonderfully out and proud — Richard Chamberlain, Joel Grey, etc.,” he wrote in an e-mail. “It’s more of a sort of self-loathing-tinged caution based on a lifelong fear of an image adjustment or career damage. Roy played to Middle American high rollers, but obviously didn’t want to gamble on his own career. One of his magic tricks was being cagey about his sexuality.”
Musto says the music business has been especially troubling for non-straight black entertainers.
“Little Richard renounced his queerness when he should have just been at peace with it and allowed himself to celebrate and be celebrated by our community,” Musto says. “Luther Vandross, Whitney Houston and many others were unwilling to step out of the shadows because the people around them (and sometimes their own inner voices) told them not to. Little Richard was so queer that it seems like a ‘duh’ that he should have just gone there. But with Adam Lambert, Sam Smith and many others (and Elton John, Melissa Etheridge and k.d. lang having led the way), things have inalterably changed.”
Although Fischbacher and Horn never spoke of their religious influences — their decor reflected influences of Eastern religion and Horn would sound a large gong in his bedroom to let the tigers know he was awake — for Richard, Kearns says, it was tragic.
“I’m not saying there aren’t some fabulously evolved people who are religious but we’ve seen time and time again how religion gets its hold on gay people at a very early age and just does not let go and the result can be horrific,” Kearns says. “Richard is a fascinating creature to me. In a way, it’s amazing he lived as long as he did with this struggle. He deserves a lot of credit. He didn’t have an easy time of it.”
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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.
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.)
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.