If there’s anything pop culture has taught us, it’s that the future belongs to the young.
It’s a statement of the painfully obvious, of course; the patterns of our existence are shaped and defined by the repeating cycle of generations succeeding each other, to the point that we take it for granted. Yet for the same reason, it’s a fact that is easily forgotten – or, perhaps more accurately, ignored – when we are living in the present.
This is especially true if we belong to the generation that “owns” the present, who have suffered through the frustrations of coming of age under the thumb of our elders and are in no hurry to pass the baton to the kids who are next in line.
Pop culture, however, has a way of reminding us that our days are numbered. Driven by the fires of capitalism, which are in turn stoked by the tastes of the most lucrative demographic (and we all know which age bracket they belong to), it repeatedly confronts us with glimpses of our own inevitable irrelevance – and that’s terrifying.
Which is why the history of pop culture is also the history of youth rebelling against age, and while the individual skirmishes in that eternal battle might go either way, only the most delusional among us could doubt which side will always prevail in the end. Usually, these are the ones who respond with the most violent distaste when they see a vision of the world as imagined by young people; clinging to the hope they can hold fast against the winds of change, they dismiss, decry and disparage, attempting to exert control by invoking the same core beliefs and traditional values their own elders used to control them.
Today’s kids, however, will have none of it.
Consider, for instance, the case of gay singer/rapper/songwriter Lil Nas X, who just last week shoved aside the homophobic boundaries of the music industry – yet again – with the debut of the spectacularly subversive video for his newest single, “Montero (Call Me By Your Name),” in which the out Lil Nas appears first wearing a body-hugging sequined onesie, then sporting full Marie Antoinette drag, and finally clad in underwear and a pair of stiletto heels as he performs a lap dance for the Devil himself.
In an Instagram post marking the release, addressed to his own 14-year-old self, Nas fully acknowledged that he was “pushing an agenda… to make people stay the fuck out of other people’s lives and stop dictating who they should be.” It was not an apology, nor an attempt at damage control over an inevitable backlash he already knew would be fierce. Nas was throwing down the gauntlet – it was a given there would be an outcry against the no-holds-barred queerness of the video, and he was sending a clear message that he was there to take on all challengers.
These included the predictable right-wing suspects, like “Blexit” founder Candace Owens and anti-trans South Dakota Gov. Kristi Noem, but also fellow musicians like rapper Joyner Douglas, who lamented in a pearl-clutching tweet that Nas had “dropped some left field ish & all our kids seen it” – joining many other homophobic commentators who trotted out the time-worn and long-discredited idea that any expression of queer sexuality is harmful to children. What’s telling is that while many of these attempts at “cancellation” come from younger voices (most, but not all of them, overtly right-leaning), the justifications behind them are based in ideologies that can safely be called ancient.
Needless to say, Nas has been more than up to the task of swatting aside all these objections in the still-ongoing social media fray, and it has been truly glorious to watch.
At 21, Lil Nas X is a voice that rises from a generation waiting in the wings, and it’s a generation that won’t wait quietly. They’ve caught on to their own inevitability, and they’ve decided they’re just going to go ahead and claim their time right now.
It’s that particularly “now” spirit of youthful rebellion that can be felt in “Genera+ion,” the HBO Max “dramedy” that premiered earlier this month and follows the interwoven stories of a group of queer students at an Orange County high school. Created by father-daughter team Daniel and Zelda Barnz, it depicts the struggles of teens as they try to make sense of their sexuality in a world defined by adults – and often, by the baggage those adults carry with them from their own struggles.
Widely compared to “Euphoria,” HBO’s other show about the severely dysfunctional hidden sex life of high schoolers, it’s a series that opts for a lighter spin. This manifests in the sure-fire humor to be found in typical comedic cliches of teen stories – awkward gaffes, clueless adults, “Mean Girl” style social politics, etc. – but can be found, albeit more subtly, in its handling of dramatic tropes, too. In its pilot episode, for instance, it introduces the relationship between defiantly queer star student Chester (Justice Smith), who has been slapped with his third violation of the school’s “dress code,” and new school counselor Sam (Nathan Stewart-Jarrett) with a scene in which the assumptions of the older man color his perceptions of the younger, resulting in an attempt at guidance that – at least in the beginning – seems more a response to his own inner conflicts than anything being felt by his new charge.
The joke might not seem apparent to those conditioned to assume a power dynamic weighted on the side of an older-and-ostensibly-wiser authority figure, but for anyone who can remember being a kid forced to listen to advice from a grown-up who doesn’t even understand your problem, it’s unmistakable.
“Genera+ion” teases the possibility of an inappropriate relationship blossoming between Chance and Sam, and introduces similarly salacious storylines as it interconnects its young characters’ lives – we meet closeted bisexual Nathan (Uly Schlesinger), whose Grindr-esque hook-ups include his sister Naomi’s (Chloe East) boyfriend, as well as Greta (Haley Sanchez) a Latina with a deported mom and a lesbian crush on artsy and seemingly free-spirited Riley (Chase Sui Wonders), and all of that is just in the first episode – and in each case, our expectations are smashed in short order, along with any egoistic presumption that we know better than they do.
It probably goes without saying that “mainstream” reactions to the show have been mixed. Many critics, such as Vanity Fair’s Richard Lawson, have resorted to snark as they attempt to characterize it, according to conventional notions of storytelling and aesthetics, as an angsty teen drama that tries too hard. But “Genera+ion” transcends these kinds of assessments. It may be messy, confusing, shallow, and even shocking – but that’s the world its teen ensemble (as well as their target audience) lives in.
They may make questionable choices, they may even suffer for those choices, but in the words of a pop culture boundary-pusher from another era, they are “quite aware what they’re going through.”
After all, the clueless adults have already proven they don’t know how to make it better. Why should they listen to anything we have to say?
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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.)
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.
Charles Busch reflects on the paths he didn’t take in new book
‘Leading Lady’ a riveting memoir from legendary entertainer
“Charles, I’m telling you, I go to plays in rat-infested basements where I’m the only one who shows up,” the late queer icon Joan Rivers once told the queer, legendary playwright, actor, director, novelist, cabaret performer and drag icon, Charles Busch. “I can see the actors peeking through the curtain and groaning, ‘Oh God, that old bitch in the fur coat is here. Does that mean we’ve gotta go on?’”
Busch reminded Rivers that she’d seen him perform in a rat-infested basement.
This is just one of the many stories that Busch, born in 1954, tells in his riveting memoir, “Leading Lady: A Memoir of a Most Unusual Boy,” which comes out on Sept. 12.
“Leading Lady” is a page-turner. Some of its tales of Busch’s life and career, such as his account of a Christmas party with Rivers as a guest, are dishy. Others, like his memories of trying to care for his beloved Aunt Lil, when he knew she was dying, would make even the Wicked Witch in Oz tear up.
The memoir, is, as Busch says on his website (charlesbusch.com), the story of “a talented artist’s Oz-like journey.”
“Leading Lady” isn’t linear. This isn’t a detriment. Busch deftly intertwines memories of his life and career from his mom dying when he was seven to being raised by his loving Aunt Lil to being the author and star of the cult classic “Vampire Lesbians of Sodom” to watching Kim Novak handle fans to being the Tony-nominated writer of “Tales of the Allergist’s Wife” to being creative during the pandemic.
“Storytelling is a huge part of my life,” Busch told the Blade in a lengthy phone interview, “I get into various adventures and, I think, this could be a good story to tell.”
Interviewing Busch is like chatting with a fab storyteller over coffee or a glass of wine. Except that you’re talking to a legend who’s entertained and inspired queers (and discerning hetero audiences) for decades. (I’m wearing my “Vampire” T-shirt as I write this.)
As a playwright, Busch writes “linear” plays, with a beginning, middle and an end, he said. As a cabaret singer, “the way I sing songs is telling a story,” Busch said.
Since childhood, he’s been creating vivid scenes in his imagination. From early on, Busch has felt as if he’s both a spectator and star in the movie of his life.
It seemed inevitable that he’d write a memoir. It’s the ultimate form of storytelling. “You reach a certain point in your life,” Busch said, “where you’re more reflective and see your life as a whole.”
“You reflect on the paths you didn’t take,” he added.
Busch spent his childhood in Hartsdale, N.Y. He had two older sisters, Betsy and Margaret. His mother’s death was devastating for Busch. His Aunt Lil and Joan Rivers have been among the women who have been “mothers” to Busch since his mom died.
Once, Busch said he and Rivers dined with friends. “Joan Rivers said ‘I wish I had a gay son I could phone at midnight and discuss whatever movie was on TCM,’” he recalled.
Busch would have loved to have been Rivers’s “gay son.”
Life in Hartsdale was hard for Busch after his mother passed away. His father was often absent and showed little interest in his children.
Things were miserable for Busch when his grandmother, for a time, cared for the family. He knew, as a boy, that he was gay and hated going to school where a movie-and-theater-loving kid who liked to draw wasn’t one of the cool kids.
Yet Busch forgave his “father’s failings,” he writes in “Leading Lady, “because he gave me the theater.”
Busch became entranced with the theater when his father, an aspiring opera singer who performed in summer stock, took him to the old Metropolitan Opera House in New York City to hear Joan Sutherland sing the role of Amina in Bellini’s “La Sonnambula.”
Busch was saved from a life of boredom and bullying when Aunt Lil, his mother’s sister, took him to live with her in Manhattan. There, like Auntie Mame, she raised him. She prodded him into applying to the High School of Music and Art in New York City. He was accepted there.
After high school, Busch graduated with a bachelor’s degree in drama from Northwestern University in 1976.
“My Aunt Lil is the leading lady [of the title of his memoir],” Busch said, “she was the most influential person in my life.”
One of the reasons why Busch wrote “Leading Lady” was to paint a full portrait of her. “It was important that it not be this kind of gauzy, sentimental memory piece,” he said, “making her out to be a saint.”
Aunt Lil adopted Bush when he was 14. Her goal was that he would go to college, become independent, be a survivor – make a place for himself in the world.
“I don’t know what would have happened if she hadn’t stepped in,” Busch said.
“She was very intellectual,” he added, “I’ve never met anyone [else] with such a pure devotion to thinking. It was a little intimidating.”
Aunt Lil’s standards for caring – for giving of oneself – were so high that it was almost impossible to meet them. “She believed that you should anticipate what people would need,” Busch said, “before they told you.”
Looking back, Busch is most proud of himself when, “I’ve gone past my natural self-absorption,” he said, “when I’ve thought of someone else.”
Busch is being too hard on himself. In “Leading Lady,” and when interviewed, he’s caring and curious as well as witty, savvy, and as you’d expect, a bit campy.
His sister Margaret died recently. “She declined gradually over nine months,” Busch, said, choking up, “I gave her my bedroom and I slept on my sofa.”
Like many of her generation, Aunt Lil didn’t understand queerness or drag. But she loved Busch. She didn’t go to see his productions, he said. “She could have gone like other parents,” he said, “and been tight-lipped. And said something nice that she didn’t believe.”
But “she didn’t want to lie or be hurtful,” Busch added, “so, for her, it was: can’t I just love and support you, and not go?”
Aunt Lil didn’t get Busch’s sexuality. But she knew about secrecy. Busch learned of a terrifying secret that his aunt had long kept hidden. In the 1930s, during the Depression, Aunt Lil worked as a nurse. One day, when she worked overtime, one of the patients suffered a burn. She had to leave nursing. “Her sister in a nasty mood revealed this,” Busch said, “Aunt Lil never discussed it.”
In the 1970s, Busch had trouble getting into theater because there were only roles for actors playing straight male characters. “The only way I could get on stage was to write my own roles,” he said, “I have a rather androgynous nature.”
Busch found that the feminine within him was a place of authority and strength. “I’m fine when I play male characters,” he said, “but I’m better when I play female characters.”
Why this is so liberating for him is a bit of a mystery to Busch. “But I accept and love it,” he said.
Times have changed since Busch made his first big splash with “Vampire Lesbians of Sodom.” “In 1985, being a drag queen was considered a negative,” Busch said, “my generation of drag performers bristled at being referred to as drag queens.”
Busch no longer bristles. “I feel like the characters,” he said, “I enjoy costumes and getting the right wig.”
“But, I go from male to female not through trickery or anything visual, I transfer through my soul.”
In “Leading Lady,” Busch recalls AIDS and other dark moments from the past. Many of his friends and colleagues died from AIDS. “AIDS was the World War II of our generation,” he said.
But Busch, in his memoir and in his life, isn’t only looking back. He’s very much in the present. Busch is embarrassed to say he was lucky. During the pandemic, devastating to many, he made art. He did play readings on Zoom and finished writing “Leading Lady” which he’d worked on for 14 years.
During the pandemic, Busch with Carl Andress co-wrote and co-directed the movie “The Sixth Reel.” The film’s cast includes Busch, Julie Halston (Busch’s longtime muse), Margaret Cho and Tim Daly.
Busch describes the film, an homage to the Hollywood madcap movies of the 1930s, as “a comic, caper movie.”
“I play a disreputable dealer in movie memorabilia,” Busch said, “a legendary lost film is found, and I see it as my ticket out of debt.”
The “Sixth Reel” is playing from Sept. 21 to Sept. 27 at the LOOK Dine-In Cinema West 57th Street in New York City.
“I hope the run in New York will encourage people to distribute this little movie,” Busch said.
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