{"title":"The Dramedy in Queer of Color:","authors":"P. Dominguez","doi":"10.5406/j.ctvmx3hw6.16","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.16","url":null,"abstract":"","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127040764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.5406/j.ctvmx3hw6.24","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.24","url":null,"abstract":"","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131953793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"No Bodily Rights Worth Protecting:","authors":"E. Williams","doi":"10.5406/j.ctvmx3hw6.9","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.9","url":null,"abstract":"","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125363038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Acknowledgments","authors":"","doi":"10.5406/j.ctvmx3hw6.3","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.3","url":null,"abstract":"","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121137342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Don‘t Let Nobody Bother Yo’ Principle”:","authors":"Adrienne D. Davis","doi":"10.5406/j.ctvmx3hw6.5","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.5","url":null,"abstract":"","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132548338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-15DOI: 10.5622/illinois/9780252042645.003.0010
Lia T. Bascomb
This chapter investigates how white homonormative narratives perform tyrannous acts that distort understandings of queerness for people of color. As white queerness romanticizes and celebrates “coming out”—becoming the universal marker of liberation—these fascinations forge a space where other, discrete ways of being in the world appear anachronistic, backwards, or rare. McCune re-opens the case of “white men on the Down Low (DL),” if you will—to elucidate how the larger discourse of the queer triumphant, or queer progress, activates an erasure of all queers (white included) who do not fit the mold of the “out and proud” gay subject. This elision constructs a cultural amnesia around other ways of knowing sexuality outside of coming out—which enables a mis-remembering of a white queer past and present, devoid of discretion. Secondly, these constructions of a white queer past sanitize white queerness and enable a discourse that not only impacts how white queers perpetually privilege progress narratives, but potentially demonizes or distorts queers of color who perform often more illegible enactments of queerness. Bringing back the film Brokeback Mountain as a shape-shifting cultural text—globalizing an understanding of the foregone closet—the chapter forces an interracial non-romance between discretion in whiteface and blackface. Brokeback Mountain and other resonant texts perform a popular queer historiography, which misreads or under-reads the broader histories and social realities of queer people within and outside of the U.S.
{"title":"Branded Beautiful","authors":"Lia T. Bascomb","doi":"10.5622/illinois/9780252042645.003.0010","DOIUrl":"https://doi.org/10.5622/illinois/9780252042645.003.0010","url":null,"abstract":"This chapter investigates how white homonormative narratives perform tyrannous acts that distort understandings of queerness for people of color. As white queerness romanticizes and celebrates “coming out”—becoming the universal marker of liberation—these fascinations forge a space where other, discrete ways of being in the world appear anachronistic, backwards, or rare. McCune re-opens the case of “white men on the Down Low (DL),” if you will—to elucidate how the larger discourse of the queer triumphant, or queer progress, activates an erasure of all queers (white included) who do not fit the mold of the “out and proud” gay subject. This elision constructs a cultural amnesia around other ways of knowing sexuality outside of coming out—which enables a mis-remembering of a white queer past and present, devoid of discretion. Secondly, these constructions of a white queer past sanitize white queerness and enable a discourse that not only impacts how white queers perpetually privilege progress narratives, but potentially demonizes or distorts queers of color who perform often more illegible enactments of queerness. Bringing back the film Brokeback Mountain as a shape-shifting cultural text—globalizing an understanding of the foregone closet—the chapter forces an interracial non-romance between discretion in whiteface and blackface. Brokeback Mountain and other resonant texts perform a popular queer historiography, which misreads or under-reads the broader histories and social realities of queer people within and outside of the U.S.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120821153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0006
E. Williams
The sexual labor of music making began, in earnest, with the classic Blues women of the 1920s who epitomized the turn to a national Black popular culture. Gertrude “Ma” Rainey was one of the most prolific of her cohort and made a career describing, in intimate detail, the interior lives of Black women and working class communities. Her popularity was a testament to her talents as a singer and performer but also to the skill of those around her, including the “Father of the Gospel Blues,” composer Thomas Dorsey and his wife, seamstress Nettie Dorsey. The materiality of the relationship shared between Mrs. Dorsey and Rainey is found in the dresses painstakingly sewn by Dorsey and glamorously displayed on stage by Rainey. While pleasant for the eye, these dresses also carry sounds—the music of its making as well as its performative display, making this object a text. In this examination, Redmond exposes the close proximities that exist within the costumes sewn by Mrs. Dorsey and worn by Rainey—namely the relationship between pious respectability and working-class nonheternomativity, laboring femininity and sonorous vocalities. Mrs. Dorsey’s work documents dressmaking as a sonic production capable of facilitating the growth of new industries and challenging the normative practices within the early twentieth century Black public sphere. Microreadings of these items, laborers, and artists expose some of the detail of Black political cultures in this moment and highlight the intertextual and multimedia enterprise of Black women’s sexual economies.
{"title":"No Bodily Rights Worth Protecting","authors":"E. Williams","doi":"10.5622/ILLINOIS/9780252042645.003.0006","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0006","url":null,"abstract":"The sexual labor of music making began, in earnest, with the classic Blues women of the 1920s who epitomized the turn to a national Black popular culture. Gertrude “Ma” Rainey was one of the most prolific of her cohort and made a career describing, in intimate detail, the interior lives of Black women and working class communities. Her popularity was a testament to her talents as a singer and performer but also to the skill of those around her, including the “Father of the Gospel Blues,” composer Thomas Dorsey and his wife, seamstress Nettie Dorsey. The materiality of the relationship shared between Mrs. Dorsey and Rainey is found in the dresses painstakingly sewn by Dorsey and glamorously displayed on stage by Rainey. While pleasant for the eye, these dresses also carry sounds—the music of its making as well as its performative display, making this object a text. In this examination, Redmond exposes the close proximities that exist within the costumes sewn by Mrs. Dorsey and worn by Rainey—namely the relationship between pious respectability and working-class nonheternomativity, laboring femininity and sonorous vocalities. Mrs. Dorsey’s work documents dressmaking as a sonic production capable of facilitating the growth of new industries and challenging the normative practices within the early twentieth century Black public sphere. Microreadings of these items, laborers, and artists expose some of the detail of Black political cultures in this moment and highlight the intertextual and multimedia enterprise of Black women’s sexual economies.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121589746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0003
Mireille Miller-young, X. Livermon
This chapter addresses the case of Hannah Elias who labored in New York’s interracial sex trade and became the mistress of one her white customers, John R. Platt. When their affair was exposed to New York residents, the eighty-four-year-old businessman charged the thirty-nine-year-old black divorcee with extorting from him over $685,000 between 1896 and 1904. While the charges leveled against Elias suggested criminal activity, the court testimony revealed the contours of a consensual seventeen (rather than seven) year-old interracial relationship and the complex trajectory of a poor, fair-skinned black woman from Philadelphia who eventually became, for some, a rich, racially-ambiguous New York homeowner and businesswoman. In order to prove that Platt had willingly engaged in their relationship and supported her financially rather than being blackmailed into paying her, Elias understood that she needed to reveal the trajectory of their intimate liaisons. Defying the stock image of the sexually deviant black woman prevalent in popular culture and white society, Elias articulated this narrative without regard for public censure. Her unapologetic revelations about her “low life” as a poor woman, sex worker, entrepreneur, and mistress provide a unique opportunity to explore how one turn-of-the-twentieth century black woman publicly framed the story of her sexual behavior. Elias’s story was her own; she refused to be defined as victimized by a powerful white man. By doing so, she left a set of sources that disrupt how the larger society scripted her and, instead, defined her own flawed truth.
这一章讲述了汉娜·伊莱亚斯(Hannah Elias)的故事，她在纽约的跨种族性交易中工作，成为她的白人顾客约翰·r·普拉特(John R. Platt)的情妇。当他们的婚外情被纽约居民曝光后，这位84岁的商人指控这位39岁的黑人离婚者在1896年至1904年期间向他勒索了68.5万美元。虽然对伊莱亚斯的指控暗示了犯罪活动，但法庭证词揭示了17岁(而不是7岁)双方自愿的跨种族关系的轮廓，以及一个来自费城的贫穷、皮肤白皙的黑人女性的复杂轨迹，对一些人来说，她最终成为了一个富有的、种族模糊的纽约房主和女商人。为了证明普拉特是自愿参与他们的关系，并在经济上支持她，而不是被勒索付钱给她，伊莱亚斯明白她需要透露他们亲密关系的轨迹。与流行文化和白人社会中普遍存在的性变态黑人女性的传统形象不同，伊莱亚斯在不顾公众谴责的情况下阐述了自己的故事。她毫无歉意地揭露了她作为一个贫穷的女人、性工作者、企业家和情妇的“低下生活”，这为我们提供了一个独特的机会来探索一个20世纪之交的黑人女性是如何公开描述她的性行为的。伊莱亚斯的故事就是她自己的;她拒绝被定义为一个有权势的白人的受害者。通过这样做，她留下了一组来源，打乱了更大的社会对她的描述，相反，她定义了自己有缺陷的真相。
{"title":"Black Stud, White Desire","authors":"Mireille Miller-young, X. Livermon","doi":"10.5622/ILLINOIS/9780252042645.003.0003","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0003","url":null,"abstract":"This chapter addresses the case of Hannah Elias who labored in New York’s interracial sex trade and became the mistress of one her white customers, John R. Platt. When their affair was exposed to New York residents, the eighty-four-year-old businessman charged the thirty-nine-year-old black divorcee with extorting from him over $685,000 between 1896 and 1904. While the charges leveled against Elias suggested criminal activity, the court testimony revealed the contours of a consensual seventeen (rather than seven) year-old interracial relationship and the complex trajectory of a poor, fair-skinned black woman from Philadelphia who eventually became, for some, a rich, racially-ambiguous New York homeowner and businesswoman. In order to prove that Platt had willingly engaged in their relationship and supported her financially rather than being blackmailed into paying her, Elias understood that she needed to reveal the trajectory of their intimate liaisons. Defying the stock image of the sexually deviant black woman prevalent in popular culture and white society, Elias articulated this narrative without regard for public censure. Her unapologetic revelations about her “low life” as a poor woman, sex worker, entrepreneur, and mistress provide a unique opportunity to explore how one turn-of-the-twentieth century black woman publicly framed the story of her sexual behavior. Elias’s story was her own; she refused to be defined as victimized by a powerful white man. By doing so, she left a set of sources that disrupt how the larger society scripted her and, instead, defined her own flawed truth.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132544161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0013
P. Dominguez
This essay explores how the distinct sexual economy of queer sex publics shapes black queer subjectivity. Focusing on how the illicit economies of the street and the illicit sexual labor of black same-sex desiring men overlap in queer sex publics, sometimes posing a threat to black men engaging in such “risky” sexual activity, this chapter argues that black queer subjectivity emerges precisely within these spatiotemporal entanglements of death and desire. Through close readings of two short stories by Jamaican-American gay author G. Winston James, the first scholarly treatment of his work to date, the author explores literary representations of black gay protagonists who encounter death while cruising for sex. The author ultimately calls for a queer reading practice that holds representations of death, oftentimes central to black queer narratives, in critical tension with representations of black queer desire.
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