10/31/2008

Enjoy the weekend.


While the rest of New York City parties this weekend, I'll be taking some down time to continue working on some of my long overdue academic deadlines. There are way too many Ho-lloween parties lined up for me to mention, though I will say that I know Club Pascha and Alegria will both be among the anticipated hot-spots. And of course, the "historic" battle between DJ Junior Vasquez (I'm convinced that this man and his Keith Haring-like appropriations of Black and Latina/o culture is a dissertation just waiting to happen) and DJ Peter Rauhofer will go down at THE SAINT AT LARGE.

If you can, go out and support the Queer Black Film and Music Festival playing at the Brecht Film Forum. And yes, I am going to take everyone's advice and actually go see Noah's Arc tonight in Chelsea.

Oh, and wait. I have a Friday treat for you. The following clip is an example of exactly why I love youtube, it keeps me laughing endlessly:

Enjoy the weekend,
Frankie Leon

10/29/2008

Ambivalent Thoughts On the "Noah's Arc" Phenomenon



Let me begin with a confession: I was never a fan of the short-lived LOGO sitcom Noah’s Arc. In my eyes the show was little more than simply a “black” version of Queer as Folk, a strange Cosby-show-like attempt to represent black people in a “positive light” (i.e., a flood of homo-normative images of mostly thin or muscular, light skinned, highly educated, upper middle class gay professionals with dreams of getting married).

Poor or working class queens, people with AIDS, or people with “everyday” problems (like, for instance, worrying about how to pay the rent for those expensive California lofts) were all consistently absent from the chic, cosmopolitan landscapes of the Los Angeles where the trendy Noah’s Arc boys lived. Ironically, the sitcom was created by Patrick Ian Polk, a talented filmmaker whose independent cult classic PUNKS (2000) is actually one of my favorite queer black films.

Anyway, needless to say, when I recently found out that Noah’s Arc had been made into a feature length film (produced, again, by LOGO networks) and was playing in Chelsea, I didn’t exactly rush to the theater. In fact, I still have yet to the see the film. Nonetheless , even without actually seeing the movie, I’m still appalled at the egregiously racist film review that was published in this week’s NEXT Magazine (everyone's favorite neoliberal, white gay mag).

Rather than ramble on, I’ll just let you read what was published , then you can tell me if I'm crazy :

Noah's Arc: Jumping the Broom
(Film Review, Next Magazine)

Sink Noah's Arc (Logo Features) and pray it's never found. Continuing from the Logo series about the lives and loves of a group of gay African-American Los Angelinos, Noah (Darryl Stephens) and Wade (Jensen Atwood) travel with their posse to be married in a picturesque summer home in Martha's Vineyard. Jumping the Broom references a slave marriage tradition, the requisite shout-out to black history.


For a well-intentioned portrayal of a broader gay community, do any of these characters have a white, Latin or Asian, friend or boyfriend? I'm totes for being black, gay and proud, but segregation's ovah!

Patrik Ian-Polk, returning as writer/director from the TV series, has brought us the cinematic equivalent to Hallmark's Mahogany cards. Every random phone call and Jacuzzi dip includes some profound life lesson.

The considerably talented and smokin' cast is stuck playing gay archetypes: the unrepentant slut (Christian Vincent), the flaming sass (Rodney Chester) and the twinkie newbie (Gary LeRoi Gray) dash about in fabricated mini-operas. As all the couples jump to jealous conclusions, scurry off in tears, make up, kiss and do it all again, the action is peppered with deadly earnest inspirational platitudes that would make Kirstie Alley willingly lose her lunch.

Honey, this sunken ship proves dreadful gay filmmaking knows no color. --AC

from Next Magazine
Vol 16.17 October 24th, 2008


Where do I begin? I'm ambivalent here because, as I've already mentioned, I don't necessarily consider myself a "fan" of the Noah's Arc phenomenon, but I still feel compelled to call attention and critique the jaw-dropping racism that obviously undergirds this review. How many times do we have to go through this ? This type of non-sense has become such commonplace in New York City's already notoriously racist white gay scene, that it's almost seems silly for me to waste my time commenting.

I give up. But if anyone out there has the time, patience, or strength to send these racist white queens an angry email calling them on their shit, please do so. Drinks on me.

10/28/2008

Letter to Closeted R & B Singer.



Letter to Closeted R & B Singer:

Let me begin by saying that I hate to reduce your identity to simply that of a “closeted R & B singer.” You deserve more than that, so forgive me in advance for my crude reductionism. But I can’t help but refer to you that way because if I mention your “real name” I would essentially be “outing” you, and well, we both know that I would never do that.

When we first met it seemed like we were a perfect match. I enjoyed your immaturish, wide-eyed schoolboy swaggah, and (I think) you were attracted to my sophisticated, insouciantly queer intellectual persona. You’d send me adorable text messages that would say things like “give me a kiss niggah” and I would willfully oblige (I would text you back with one of those cyber-smiley faces that represented “muah”). We quickly set aside some of the logistics that threatened to compromise our sexual compatibility (i.e. both of us claimed to be “Tops”) and decided that we would just “go with the flow,” a euphemistic phrase that boys like you always seem to love.

Everything was going just fine until you googled “Frank Leon Roberts” and found out that I have a gay blog, go to drag balls, party a lot, and engage in other forms of queer debauchery. You told me that we would have to “just be friends” because you were “confused” about your sexuality and the openly queer lifestyle that I lived was just a bit too much for you. You made it a point to remind me that eventually you planned on “getting married” (to a woman) and “having kids” and that even though you didn’t mind getting fucked, ultimately you weren’t “gay.”

I believe you. And that’s why I’m writing this letter. I understand that sexuality is complicated business, and sometimes there are aspects of our fragmented selves that exceed the categories and names that we have at our disposable (“gay” “bi” “fag” “DL”).

So I’m not mad. I doubt that we’ll actually “keep in touch” like you pretended that you wanted to, but nonetheless your story will surely resonate with me for a long while. We didn’t know each other very long, but it was fun for the few short days that it lasted. Since you’re no longer sending me text messages, I’ve downloaded a few of your songs on ITUNES, and when the album drops, I’ll listen closely for the queer cadences and subtexts in those sweet, heteronormative love songs you sing so well.

Too Gay,
Frank Leon Roberts

10/22/2008

NOVEMBER 5TH ETIQUETTE (A Reminder)


Good Afternoon People,

After watching the final debate the other night, it dawned on me that Obama could actually win this thing. If that happens, there will be a lot of folks (some of our co-workers included) who will be afraid that an Obama presidency will usher in the end of days. They will be watching us on the 4th and the 5th for signs that this is, indeed, the end of life as they know it.


To keep the peace and keep a lot of folks from getting nervous, I think we should develop a list of acceptable celebrations, and behaviors we should probably avoid - at least for the first few days:

1. No shouting "Thank you Jesus!" - at least not in public.

2. No calling in sick or coming in late on November 5th. They'll get nervous if too many of us don't show up, or if we all come in at the same time.

3. No playing of the theme song to the Jeffersons ("Moving on Up") or doing the George Jefferson shuffle (unless you are in your office with the door closed). James Brown's "I Feel Good," however, is acceptable.

5. No bringing of BBQ ribs or fried chicken to lunch in the company cafeteria for at least a week.

6. DO NOT, appear to walk past your caucasian co-worker and suddenly turn & yell BOOO YAH! They may view this as a sign of aggression, and in preparation for the end of days they might be carrying a concealed weapon. In which case, the incident might end quite badly.

7. Please refrain from doing the Running Man or the Cabbaage Patch. However, if there is a couch in your reception area, feel free to jump up on it and shout "Oprah, I LOVE Obama!"

8. Do not, play excerpts from Martin Luther King's I've Been to the Mountain Top, especially, not the part that says "Let justice roll down like waters and righteousness like a mighty stream." (This may be perceived as an overt threat)

9. Do not, have money printed with Obama's face on it and attempt to spend it. Federal prison may not be the county lock-up, but it's still jail

10. DO NOT, let your boss come into his or her office to find you sitting behind his/her desk with your feet up talking about "there's gonna be some changes around here." This WILL get you fired, and possibly arrested if you resist.


If I've missed anything feel free to add to the list. I just want to make sure we're all on the same page when Obama brings this thing home on November 5th.


Source: Personal Email Chain.

10/21/2008

My course at NYU next semester.

I'm teaching the following course in NYU's Department of Social and Cultural Analysis (Gender and Sexuality Studies Program) next semester. I sometimes get emails from NYU undergrads who tell me that they read my blog, so if you're reading this, help me spread the word.





AIDS ACTIVISM AND
QUEER COUNTERPUBLICS

Department of Social and Cultural Analysis
(Gender and Sexuality Studies Program)
Wednesdays, 11:00-1:45 PM (Spring 2009)
Section Number: V18.0493 001
Instructor: Frank Leon Roberts


This seminar provides students with both a rigorous overview of the history of AIDS activism in the United States as well as an introduction to the frontlines of contemporary queer grassroots activism around HIV/AIDS here in New York City. Through our reading material, we will pay attention to the unique and richly varied forms that queer “activism” around the AIDS epidemic has taken including examples from photography and visual art, film and video, direct action protests, theater, literature, and cultural criticism. Throughout the semester these historical readings will be supplemented by guest lectures from representatives from community-based organizations currently engaged in activism around AIDS: the Gay Men’s Health Crisis (GMHC), the Visual AIDS Project, Gay Men of African Descent, and People of Color in Crisis (P.O.C.C.). Finally, we will pay attention to the politics of AIDS activism in relationship to a variety of queer “counterpublic” communities, including cultures of sex work, hustling, pornography, clubbing, and other dissident formations. Students will be encouraged to develop research papers in the Royal S. Marks AIDS Activist Video Collection of the New York Public Library, and should be prepared to spend some time out of class in collaboration with community organizers.


Required Texts (Subject to Change):

  1. Course Reader (Available at NYU Bookstore)
  2. Gregg Bordowitz and James Meyer, eds. The AIDS Crisis is Ridiculous and Other Writings, 1986-2003 (MIT Press, 2004)
  3. Douglas Crimp, Melancholia and Moralism: Essays on AIDS and Queer Politics (The MIT Press, 2004)
  4. Douglas Crimp and Adam Rolston, AIDS Demo Graphics (Bay Press, 2004)
  5. Imani Harrington and Chyrell Bellamy, eds. Positive/Negative: Women of Color and HIV/AIDS: A Collection of Plays (Aunt Lute Books, 2002)
  6. Samuel Delaney, Times Square Red, Times Square Blue (NYU Press, 1999)
  7. Strange Bedfellows, Policing Public Sex: Queer Politics and the Future of AIDS Activism (NYU Press, 1995)
  8. Nancy Spector, Felix Gonzalez-Torres (Guggenheim Museum, 2007)
  9. Larry Kramer, The Normal Heart (1985)
  10. Sarah Schulman, People in Trouble (Plume, 1991)
  11. Amber L. Hollibaugh, My Dangerous Desires: A Queer Girl Dreaming Her Way Home (Duke UP, 2000)
  12. Gary Schneider, Desire : Contemporary Photography from the Visual AIDS Archive Project (Light Work,1999)
  13. Alexandra Juhasz, AIDS TV: Identity, Community, and Alternative Video (Duke University Press, 1995)
  14. Fiona Buckland, Impossible Dance: Club Culture and Queer Worldmaking (Routledge, 2002)

work, work, work!


I returned home to New York City on Saturday evening after a great weekend in New Mexico at the American Studies Association Conference. I'm too tired to provide a line-by-line of who all was there and what all happened, but I will just say that it was a wonderful experience.


I took yesterday "off" (i.e. I lounged around my Brooklyn apartment all day, doing absolutely nothing), but now I'm back to work. My next travel excursion will be to Los Angeles on November 14th, 2008, where I will be participating in a special one day Faculty/Graduate Student Symposium on "Race, Violence, and Gender" at the University of Southern California, sponsored by the Department of American Studies and Ethnicity, and moderated by Joy A. James and Andrea Smith. I need to take the rest of the week to finish writing that paper. I'm also working on a co-authored journal article with my colleague Marlon M. Bailey that is way overdue. On top of all of this, I have a shit-load of Dissertation Year Fellowship deadlines that are very quickly approaching (shout-out to my brilliant co-conspirator Marques Redd for keeping me on top of this!)


Tomorrow is my mother's birthday, so I will be taking some time off, returning to New Jersey to spend some time with my little brother and step-dad.


More soon,
Frankie

10/15/2008

yvie and I: a love letter, back and forth.

Frankie to Yvie:

"Yvie, my baby, it has already become public knowledge that my love for you borders on the sociopathic. I love you like Nostrand Avenue Trade that loves to holla at Cunty Boys on the low. It's THAT deep. Once I get through this week, with the grace of God, I want to get together with you. I need to hug you and smell the sweet scents of tenderness, of progressive rage and grown black womanliness that only you can give me."










Yvie to Frankie:

"sugah honey, my divine, my adored, my beloved, i am honored by how much you love me and i offer you this: i love you like a butch loves her fresh timbalands, the new ones, with no dirt on them that match every damn thing she owns, cuz you match all of me baby. my love for you is an outright addiction at this point, i don't do drugs or drink, i do FRANKIE FUCKIN MIZRAHI. *drop microphone to ground with loud thud* lol"


10/14/2008

New York City Queer Experimental Film Festival Begins


Derek Jackson's haunting video "Kisser" will be screened tomorrow night at the QEF Festival.


--



For those of us that find ourselves perpetually bored (if not nauseated) by the visual images that have become commonplace in the ephemera of our post-Will and Grace, quasi-mainstream gay culture, every now and then we find solace in a some good old fashioned, nasty queer fun.


(Brontez Purnell in "Younger Lovers")


Case in point: America’s best anti-L.O.G.O. alternative, the New York City Queer Experimental Film Festival, begins tomorrow in the South Street Seaport. I’ll be checking out a piece by photographer and video artist Derek Jackson, who is one of the artists whose work I am very interested in in the context of my dissertation. Derek’s video is one of the festival’s several delicious, anti-normative treats produced by queer artists of color. The others include Ignacio Rivera’s video “They” and a piece entitled “Younger Lovers” featuring the work of black Bay Area queer club-kid/avant-garde artist extraordinaire Brontez Purnell.


Ignacio Rivera's "They" (which deals with Black Boricua Trans-identities) will be screened Saturday.


Dope shit. Check it out.

Headed to Alburque, New Mexico for the American Studies Conference

I’m headed to the American Studies Association Conference in Alburque New Mexico the day after tomorrow. For those of you that are unfamiliar, the "ASAs "are a fancy-smansy conference where many of cultural studies’ most notorious insurgent intellectuals convene for a weekend of intellectual mischief making. This will be my first trip to the conference.


I’ll be presenting a paper in a panel moderated by Northwestern University’s E. Patrick Johnson. I’ll be joined by three fantastic colleagues: Marlon M. Bailey of Indiana University-Bloomington (a graduate of UC Berkeley’s African Diaspora Studies Program), Jeffrey Q. McCune of the University of Maryland-College Park (a graduate of Northwestern’s Performance Studies program) and Christina Hanhardt, also of the University of Maryland-College Park (and a graduate of NYU’s American Studies program). The description of our panel is below (its a little lengthy, sorry, you know us academics like to get wordy sometimes).

If you have a moment you can stop and check out the complete list of papers and panels being delivered at this year's conference. The link is available here.


"Back Down To the Ground: Race, Structural Inequality and the Violence of Everyday Queer Life"


Presented at the 2008 American Studies Association Conference


Panelists:

E. Patrick Johnson (Chair), Christina Hanhardt, Marlon M. Bailey, Frank Leon Roberts and Jeffrey Q. McCune


"The changing geopolitical landscape of the United States in the age of neoliberalism has facilitated an increasing climate of violence towards racialized queer bodies. We know this story well: it is manifested in the widespread spatial-political displacements of people of color in urban centers in the name of improved “quality of life” (as in the case of New York City with its spatial remappings of neighborhoods such as the West Village and Chelsea); in media-driven demonizations of racialized queer cultural practices (as in the extensive media frenzy over African American men “on the down low”) and in certain state sanctioned conditions of unequal access which have exacerbated biomedical injustice (as in the continued rise in HIV/AIDS prevalence among queer men of color in urban areas).


In what ways might American Studies work toward a truly liberatory explication of what these conditions actually look like and feel like on the ground, between and amongst the communities which are suffering from the daily results of such routine disenfranchisements?


The four papers brought together in this panel attempt to pose a critical conceptual intervention in American Studies. These essays work towards a new understanding of the constitutive nature of violence in framing, producing, and articulating what an elusive category like “queer of color” actually look likes and feels like in everyday experience. Cross-disciplinary and multi-methodological, these papers together ask what happens to our understandings of “violence” when it indexes that which is ideological as much as that which is embodied? E. Patrick Johnson, co-author of Black Queer Studies, will provide a response.


In “Double Time: Queer Violence, Dis-Ease, and Danger” Jeffrey Q. McCune draws from his fieldwork among African American men in Chicago, Illinois to explore the ways in which the “down low” as a cultural practice functions to protect racialized subjects from racial-sexual-class surveillance. He sets this analysis alongside a critical reading of the film Brother to Brother by Rodney Evans.


Frank Leon Roberts, in “The Ethics of Affection” looks at what he identifies as a “perverse ethics of kinship” practiced among queer men of color living, dying, and negotiating the AIDS pandemic in one of New York City’s most deeply impoverished/infected neighborhoods (Bedford Stuyvesant, Brooklyn).


Similarly, drawing from ethnographic fieldwork in Detroit and Oakland, Marlon M. Bailey delineates how Black queer communities (particularly those engaged in subcultural practices such as the “ballroom scene”) utilize performance as praxis in their quotidian struggles against the HIV/AIDS crisis.


Finally, Christina Hanhardt, in her paper “The ‘Particular Task’ of ‘Integrated Analysis’” draws on the foundational work of the Combahee River Collective’s “A Black Feminist Statement” to provide an alternate genealogy for contemporary activism against anti-gay violence. In doing so, she also excavates the history of never-before-studied grassroots organizations dedicated to understanding the links between racism, homophobia, and institutional violence, such as Dykes Against Racism Everywhere in New York and Lesbians Against Police Violence in San Francisco.
Taken together, these four papers highlight grounded sites of cultural production and everyday forms of activism by queers of color in order to push American Studies towards an engagement with theories “in the flesh”— engagements which might move the field towards a truly radical conceptual reordering of the theory/practice divide. "

10/12/2008

Andre and Frank on Jazmine Sullivan

One of my blog readers, UCLA's Andre Wellington, sent me the following message today in response to my post last week about what I believed to be an aesthetically disappointing new music video by Jazmine Sullivan ("Bust Your Windows Out Your Car"). Andre writes:


"I'm actually not that disappointed. True, the video saved a lot of money by not having her literally bust the windows out a car but the idea that creativity was restrained is a bit overdetermined. Kudos to Jazmine and her creative agents for transcending the literal subject of the song and choosing instead to portray a more 'domestic' rebellion that still manages to maintain the theme of vandalism as revenge.


My disappointment - The more worrying metaphor, the mad black woman, is hardly satisfying. While it is, according to some people, culturally informed, it is also overdone. Again black women are property/material-obsessed, hysterical homemakers that avoid directly confronting the black man and the issue - a situation that has definitely not been my experience nor the experience of many of the people I know that participate in this cultural matrix."


Here's my response:


Hey Andre, I disagree with your critique of what you've represented as an "overdetermined" criticism on my behalf. I stand by my original assertion that the video's "creative imagination" is quite stifled and lackluster. Regardless of whether or not the video's producers "saved money" by choosing not to present us with images of actual broken car windows, aesthetically this video subscribes to the same old tired, romantic, and predictable tropes of black bourgeoisie bohemian culture (i.e. the Basquiat paintings, the sprawling Mediterranean Mansion, the spilled bottles of ostensibly expensive red wine) that have become quite commonplace within the realm of post-Babyface, black R& B music culture.


Moreover, I could not disagree with you more about the idea of giving "kudos" to Sullivan's camp for their decison to present us with a video that focuses on a more intimate, "domestic" dispute. Setting aside your vigilant critiques of the lyrical thematics of "Bust Your Window" --critiques which I for the most part agree with (i.e. the problematics of the maniacal, crazed black woman gone wild)--I still firmly believe that this video could have potentially offered us something newer, something fresher than simply a Terry McMillan-esque portrait of a wealthy black woman professional destroying her man's home as the ultimate form of revenge. Quite frankly, I think we've been there, and done that, and Jazmine Sullivan is an artist whose critical potential lies in her ability to possibly present us with something a little more afro-punk. Dont you think?


Join in on the discussion.


10/11/2008

Why I Hate Jazmine Sullivan's New Music Video.




Here we go again: yet another great song irreconcilably destroyed by a terrible music video. I guess the downtrodden U.S. economy has not only obliterated record company's financial budgets, but has also stifled people’s creative imaginations. Jazmine Sullivan, everyone’s favorite “African American Amy Winehouse” (oh, the vicious irony) has just debuted the music video for her infectious, albeit slightly maniacal ballad “Bust Your Windows Out Your Car.”



**Yawn***. I hate it. I don’t see Jazmine busting any car windows in this video, but I do see her engaging in a much more blasphemous act: defacing what are ostensibly original Basquiat paintings. The nerve.

10/08/2008

First Listen: New Beyonce

*Update: Sorry kids, as of Thursday night it looks as though the Beyonce camp has snatched the leak from off the web. No worries though, you still can find it on music download databases (i.e. Limewire).




Here's a sneak peek at Beyonce's brand new single "Single Ladies Put a Ring On It." Not surprisingly (given my unapologetic fascination with all things related to black women's pop music culture) I'm a fan. Rhythmically the track is very "Get Me Bodied" with the kinds of infectious musical refrains ("all the single ladies, put your hands up") that characterizes previous B-hits like "Independent Women" and "Survivor."


Anyone else feeling it?

10/03/2008

Thoughts on Jennifer Hudson's latest single [and album].



A vocally prosperous, rhythmically balanced, musical mosaic of pop, soul, and jazz (particularly in terms of rhythmic timing), Jennifer Hudson’s soon-to-be-released second single “Pocketbook” is a club-anthem in the making. Take a listen, do you agree?


In fact, go ahead and take a listen to several other soon-to-be-hits from Hudson’s brilliant debut album, released this week. I bought the album this morning. Here are my three favorites ("Pocketbook," "Jesus Promised Me A Home Over There," and "Giving Myself") where Jenny gives the kids diva, church, and sweet ballad-bubble gum, respectively.









10/02/2008

Museum of Contemporary African Diasporan Arts (MoCada) Presents: "I AM A MAN"

1968:

2008:



The Museum of Contemporary African Diasporan Arts (MoCada) Proudly Presents:


I AM A MAN
On view

September 25, 2008 - January 18th, 2009



Curated by Kevin Powell



Organized by Laurie Cumbo and Kimberli Gant





Exhibiting Artists
Radcliff Bailey

Rah Crawford


Russell Frederick


Leroy Henderson


Charly Palmer


Fahamu Pecou


Jefferson Pinder


Juan Sanchez


Jamel Shabazz


Lorenzo Steele, Jr.


Hank Willis Thomas


Ernest Withers



"February 1968 saw 1,300 African American Sanitation workers strike to demand their basic rights to organize a union, to gain a living wag e, and to garner the respect and dignity deserving of all working men and women. The Civil Rights Leader, Rev. Martin Luther King Jr., eventually came to Memphis to support the strikers and was subsequently assassinated. From those dramatic events, one phrase emerged that continues to inspire community activists forty years later, "I AM A MAN."



With this theme, twelve artists have been selected to create new work that immortalizes the 1968 workers strike as well as offer interpretations of what it means to be an African American Man in America in 2008. The goal of the exhibition is to also draw greater attention to the role and responsibility of the artist to serve as an agent of change. Ernest Withers, who not only photographed and captured the historic I AM A MAN march also created the bold signs that expressed the intellect and drive of African American males in America to reclaim their manhood and their right to be respected and treated as equals in America and all over the world.



This thought provoking exhibition comes at a time when the perception of a Black man in America is most under introspection ranging from Barack Obama securing the Democratic nomination to the controversial not-guilty verdict in the Sean Bell trial. We hope that you will share the experience of this exhibition with a child."


On View Until Jan. 18, 2009 @


MoCADA


80 Hanson Place (corner of South Portland)


Brooklyn, New York 11217





Source: Mocada.org


10/01/2008

10 page spread in FADER MAGAZINE on Brooklyn's house-ball scene.

A resurgent media interest in house-ball culture seems to be in full effect. Ranging from Isis Tsnumani's recent reign as the first transgender woman on America's Next Top Model, to Terrell McCraney's wonderful new off-Broadway play WIG OUT! (which, by the way, receives a glowing review in today's New York Times), references to the house ball community are currently running amuck within the realm of popular culture. Though the overly-protective, organic intellectual in me cant help but cringe with suspicion about pop culture's recent "rediscovery" of the ball scene (is the scene about to be co-opted yet again? are we witnessing a throw back to the empty, early 1990s media fascination with queer black urban culture?) i'm still happy that the "kids" are getting their 10 minutes of fame. Or is 9 minutes? Or is it...



C'est la vie. The folks at FADER MAGAZINE seem to have wasted no time jumping on the bandwagon. This month's issue features a whopping-10 page spread dedicated to ball culture in Brooklyn. Here's a peak below. God help us all.