QUEERING UTOPIA ON TUMBLR
i think the background is too CRAaAaAaAaAZYYYyyyy
still workin on it
Tuesday, August 21, 2012
Saturday, August 4, 2012
Saturday, July 28, 2012
"Thank You, frank ocean"
Thank you, Frank Ocean.
It’s true, we are a lot alike… “spinning on blackness. All wanting to be seen, touched, heard, paid attention to.” In your opening few lines, you simultaneously established your humanity, a burden far too often asked of same sex lovers, and acknowledged that in this age of hyper self- awareness, amplified in no small part by the social media medium in which you made your announcement, we are desperate to share. You shared one of the most intimate things that ever happened to you – falling in love with someone who wasn’t brave enough to love you back. Your relieving yourself of your “secret” is as much about wanting to honestly connect as it is about exhibition. We are all made better by your decision to share publicly.
You and Anderson Cooper have the same coming out calendar week in common, but in many obvious ways, you couldn’t be more different. Anderson Cooper is an heir to one of America’s great Industrial Age fortunes and a network professional whose maleness and whiteness backed by his considerable accomplishments guarantee him work. You are a young Black man from New Orleans who fled your still struggling city. You didn’t arrive in Los Angeles with generational wealth and privilege, only the beautiful lyrics and melodies that danced through you and your dream of making it in a music industry whose sand castles were crumbling.
You are in fact, connected to one of hip-hop’s great cadres, in the tradition of Oakland’s Heiroglyphics, The Native Tongues and The Juice Crew. Your music family, like all the rest, will likely grow apart, but in this moment Odd Future bends hip-hop’s imagination with utter abandon. You fulfill hip-hop’s early promise to not give a fuck about what others think of you. The 200 times Tyler says “faggot” and the wonderful way he held you up and down on Twitter today, Syd the Kid’s sexy stud profile and her confusing, misogynistic videos speak to the many contradictions and posturing your generation inherited from the hip-hop generation before you. I’m sure you know a rumor about Big Daddy Kane having AIDS and with it, the suggestion that he was bisexual, effectively ended his career. You must have seen the pictures of pioneer Afrika “Baby Bam” from the Jungle Brothers in drag and read the blogs ridiculing him, despite the fact that he’s been leading a civilian life for nearly two decades. I know as a singer you love Rahsaan Patterson and bemoan the fact that homophobia prevented him from being the huge star his talent deserves. Only last month Queen Latifah unnecessarily released a statement denying that her performing at a Gay Pride event meant she was finally affirming her identity for thousands of Black girls. Imagine if Luther had been able to write, as you closed your letter, “I don’t have any secrets I need kept anymore…I feel like a free man.”
But you’re not an activist. You’re a Black man in America whose star is on the rise, working in hip-hop and soul, where gender constructs are cartoonishly fixed. Your colleague Drake is often attacked with homophobic slurs when he simply displays vulnerability in his music. He seems to respond by following those moments of real emotion with bars that put “hoes” in their proverbial place. But you’re a beautiful songwriter (your question to Jay and Kanye, “What’s a King to a God?” on their own song on an album about their kingdom, was brilliantly sly). Your letter is revolutionary not least of all because it is about love. It is about falling in love and feeling rejected and carrying both that love and rejection with you through life. The male pronoun of the object of your desire is practically incidental. We have all been in a love that felt “malignant…hopeless” from which “there was no escaping, no negotiating.” Your promise to your first love, that you won’t forget him, that you’ll remember how you changed each other, is so full of love and grace.
You were born in the ’80s, when gay rights activists were seizing the streets of New York and other major world cities, fighting for visibility and against a disease that threatened to disappear them. The cultural shifts created from those struggles in some ways make your revelation about your fluid sexuality less shocking than it would have been decades before. Still, there are real risks with coming out as a man who loved a man. I hope you hear and are reading the hundreds of thousands of people who have your back.
We admire the great courage and beauty and fearlessness
in your coming out, not only as a bisexual Black man, but as a broken
hearted one. The tender irony that your letter is to a boy who was
unable to return your love until years later because he was living a lie
is the only truly tragic detail about your letter. A million twirls on
this spinning ocean blue globe in this vast endless blackness for you my
love.
this letter by dream hampton on Jay Z's site here .
Wednesday, July 18, 2012
queering gilmore girls. bahahaha
Tuesday, July 10, 2012
Friday, June 8, 2012
Monday, May 14, 2012
Imaging Urban Park Utopias
Brooklyn Utopias: Park Space, Play Space shows through June 24 at the Old Stone House (336 3rd Street, Park Slope, Brooklyn).
Monday, May 7, 2012
Is Marina Abramović Trying to Create a Performance Art Utopia?
Shigematsu discussed the design for the institute, which will be housed in an old community theater-turned-tennis-court in Hudson. The architects used three guiding principles in their planning, the first of which is the idea that everyone and every space should stay connected. So a circuit of rooms devoted to the Abramović Method will ring the main performance space, and wherever a visitor is in the institute, even eating a sandwich in the cafe, she will have a view of that central space. It’s hard not to find this constant ability to watch and be watched a bit creepy, rather than a utopia it even has the makings of some kind of performance-art police state (a feeling bolstered by the cool surrealism of some of the architectural renderings for the project); but it will theoretically help further erase the distinctions between performer, audience member and audience-member-in-training.
http://hyperallergic.com/51149/is-marina-abramovic-trying-to-create-a-performance-art-utopia/
Saturday, May 5, 2012
Wednesday, May 2, 2012
if you can't know how beautiful you are
If you can’t know how beautiful you are
I will say it for you
Your skin carries charm
And each quake of your heart shakes snowflakes
And your eyes the deep green beginning of spring
And I love your long fingers that don’t even waste time
trying to hold sand
Your back is a sacred land
Dotted with lighthouses along the coast
Where most ribs meet there’s a tickle
Dragged out on the street
And you, you have something to share
Save spindrift waved into your hair
A soul casting stare
Baby I know you feel like
Broken driftwood
And oceanic botchulism
But the body should not be a prison
Especially your own.
Especially when I want to play you like a saxophone
And rip jazz down into speak ease’s
And freeze the notes around
Your electrified face
Your icy, kundalini pace
Tuesday, May 1, 2012
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