After All this you won’t have to hang out
with that faggot kesiner any more
Hi killer why you on your knees?
You queer or something?
Doesn’t this cafeteria have a no fags
allowed rule?
What’s the matter you goin faggot?
You turn fag on me or what?
Why you a big tough country fag ain’t
you?
You’re a faggot
Butch Queen
You’re a faggot
Cunt
Butch Queen
You’re a Cunt
You’re Fag
Butch Queen
Fuck You Faggot Fuck You queer
Who is this faggot
These are
the opening refrains that DJ Mike Q played on November 11th 2013 at
the Vogue Knights Event. Literally, taking place underground, the event space
can be found in the basement of Escuelita’s nightclub in Times Square
Manhattan. To the uninitiated, these lyrics would seem offensive. In a time
where popular musical artists are consistently maligned for homophobic content,
lyrics such as these appear to be begging for vitriolic critique. However, in
the House Ballroom community refrains such as those featured in Mike Q’s music
are the soundtrack for folks who are queer of color subjects. Yes, the crowd is
predominantly homosexual, lesbian, transgender, Black, and Latino. In addition,
the revelers who attend Vogue Knights come from the various black and Latino
ghettoes that surround Manhattan. In so doing, Vogue Knights at Escuelita’s is
one of the few events in Manhattan catered to lower income of color clientele. The
event itself is the brainchild of Jack Mizrahi, and it is a corollary to the
House Ballroom scene. The notion of scene is quite important to this community.
Upon close observation, I have come to the conclusion that in order to grasp
how the House Ballroom community defines the limitations and possibilities of a
House Ballroom scene, it is important to think about time, location, and
individuals.
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