Get Yo' Life: Black Queer Placemaking: Black Performance and Cultural Criticism
Autor R. J. Millhouseen Limba Engleză Paperback – 26 mar 2025
In Get Yo’ Life, R. J. Millhouse incorporates gender and sexuality studies, archival work, performance studies, and urban studies to craft a historical geography of Black queer public life and culture from the 1960s onward. He does so via case studies of two Brooklyn nightclubs, Langston’s Brooklyn and Happiness Lounge, as patrons fought to preserve their spaces and community in the face of gentrification. Introducing Black queer spatiality as an analytic method and a type of intersectionality-driven memory work, Millhouse teases out the nuanced functions of care work, performance, and kinship labor, along with attendant sensational, atmospheric, and nostalgic factors, as they inform Black queer placemaking practices. These practices—such as resource fairs, vogue competitions, and the appropriation of public parks as communal places—often face opposition from the police or well-to-do, mostly white, neighbors. Yet, they remain vital sites of Black queer agency. By focusing on the structural powers that condition the lives and placemaking and placekeeping strategies of Black queer people in Brooklyn, Millhouse reveals the ways in which people make and preserve place amid state-sanctioned displacement.
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Specificații
ISBN-13: 9780814259405
ISBN-10: 0814259405
Pagini: 160
Dimensiuni: 152 x 229 mm
Greutate: 0.45 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Black Performance and Cultural Criticism
ISBN-10: 0814259405
Pagini: 160
Dimensiuni: 152 x 229 mm
Greutate: 0.45 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Black Performance and Cultural Criticism
Recenzii
“Get Yo’ Life powerfully demonstrates how Black queer people challenge exclusion, antiblackness, and queerphobia through their resistive placemaking efforts. Synthesizing ethnography, archival research, personal insight, popular culture, and theory, Millhouse has produced a deeply persuasive argument.” —Rinaldo Walcott, author of The Long Emancipation: Moving Toward Black Freedom
“Millhouse archives the spaces that once catered to the needs and desires of Black queer people and the behaviors that foster Black queer community, often under duress. Get Yo’ Life makes an important contribution to Black studies, spatial justice studies, and the study of New York City’s queer history.” —Marlon B. Ross, author of Sissy Insurgencies: A Racial Anatomy of Unfit Manliness
Notă biografică
R. J. Millhouse (he/him) is Assistant Professor of urban design and interior architecture at the Herberger Institute for Design and the Arts at Arizona State University. His research is at the intersection of urban and environmental design, geography, gender, and Black studies.
Extras
Get Yo’ Life: Black Queer Placemaking has expanded the scope of spatial knowledge to include Black LBGTQ spatial experiences in social spaces throughout the twenty-first century by analyzing sensations, nostalgia, and atmosphere within Langston’s Brooklyn and Happiness Lounge to understand the ways in which gentrification continues to extract physical Black queer social spaces and impact the atmospheres and sensations that are unique to their vanishing social spaces. I introduced Black queer spatiality as the relationship between Black queer placemaking practices and their associated sense experience.
As a research tool used to explain a Black queer sense of place, Black queer spatiality describes Black LGBTQ sensation, nostalgia, and atmospheres, and thereby theorizes its findings by tracing physical spatio-historical processes of extraction to the spatial experiences that are emplaced in Black queer social spaces. Get Yo’ Life: Black Queer Placemaking has explored placemaking and care-work as well as gender performance and kinship labor and other examinations. Particularly, Get Yo’ Life investigated how Black queer people make place and the sensational experiences effected through their practices.In addition, Black LGBT people engage in sociospatial practices to navigate conditions where Black LGBT sociospatial life is being squeezed out of public space (McGlotten 2012; Fair 2017; Bailey 2014). Particularly, Marlon M. Bailey (2014) examines the ways Black LGBTQ members of the Ballroom community create Black LGBTQ space to contend with their spatial exclusion from and marginalization within public private space in Detroit. I attended an Apocalypse Ball that demonstrated the performance and care-work involved in a ball in New York City. I remember several instances of competitors performing what is known as a death drop. As I previously mentioned, a death drop is the exclamation point on a vogue performance; it is the last move in a vogue performance, which involves the performer spinning, jumping in the air, and finally landing on their back with one leg raised in the air with their toes pointed toward the ceiling. The second performer moves closer to the judges’ table so they can observe their crisp, tight vogue movements. Their hands are raised toward the ceiling and their hips move from side to side. The judges behind the table observe their dance moves while several cameras document their performance. One of most important features at the Ball was a sign raised behind the judges table that reads “HIVStopsWithMe.org.” Several health organizations attend balls to provide free condoms and free on-the-spot HIV tests.
In 2020, the novel COVID-19 virus shook the world and brought all in-person events to a standstill, changing the ways that people travel, engage in labor, come together, and make and hold place. At the beginning of 2020, businesses across the United States started paying attention to the ways in which the COVID-19 virus had impacted other regions. By March 2020, people in the United States started paying attention to the deadly impact of the virus. Businesses started shutting down, the NBA and college leagues suspended their season, schools closed, and streets were empty, but thousands of Americans were already infected. On March 11, 2020, the World Health Organization declared COVID-19 a pandemic. As of March 12, 2020, one hundred people in the US had died from COVID-19 compilations, and by December 26 of the same year, the death toll had reached 300,000. Due to mandated stay-at-home orders throughout the year, Ballroom events and gatherings at Happiness Lounge ended. The year 2020 was one in which the world changed as we pivoted to slow the spread of the COVID-19 virus. As I write these words in July 2021, more than 331 million Americans have been vaccinated to protect against the COVID-19 virus since vaccine administration started on December 14, 2020. On December 29, 2020, Patricia Cummings, a Black nurse, administered the Moderna COVID-19 vaccine to Vice President Kamala Harris, the first woman of Black and Southeast Asian descent to hold the office of the United States vice president. Vice President Harris received her vaccine on camera to demonstrate to the United States, particularly the Black community, that the vaccine is safe. As a result of the ongoing vaccination campaign, the United States slowly reopened public spaces. Considering the ways in which the COVID-19 virus shuttered many businesses, left many people unemployed, and caused highly anticipated balls and other Black queer events to be canceled across many states, Black queer people showed resiliency before, during, and after the COVID-19 global pandemic.
As a research tool used to explain a Black queer sense of place, Black queer spatiality describes Black LGBTQ sensation, nostalgia, and atmospheres, and thereby theorizes its findings by tracing physical spatio-historical processes of extraction to the spatial experiences that are emplaced in Black queer social spaces. Get Yo’ Life: Black Queer Placemaking has explored placemaking and care-work as well as gender performance and kinship labor and other examinations. Particularly, Get Yo’ Life investigated how Black queer people make place and the sensational experiences effected through their practices.In addition, Black LGBT people engage in sociospatial practices to navigate conditions where Black LGBT sociospatial life is being squeezed out of public space (McGlotten 2012; Fair 2017; Bailey 2014). Particularly, Marlon M. Bailey (2014) examines the ways Black LGBTQ members of the Ballroom community create Black LGBTQ space to contend with their spatial exclusion from and marginalization within public private space in Detroit. I attended an Apocalypse Ball that demonstrated the performance and care-work involved in a ball in New York City. I remember several instances of competitors performing what is known as a death drop. As I previously mentioned, a death drop is the exclamation point on a vogue performance; it is the last move in a vogue performance, which involves the performer spinning, jumping in the air, and finally landing on their back with one leg raised in the air with their toes pointed toward the ceiling. The second performer moves closer to the judges’ table so they can observe their crisp, tight vogue movements. Their hands are raised toward the ceiling and their hips move from side to side. The judges behind the table observe their dance moves while several cameras document their performance. One of most important features at the Ball was a sign raised behind the judges table that reads “HIVStopsWithMe.org.” Several health organizations attend balls to provide free condoms and free on-the-spot HIV tests.
In 2020, the novel COVID-19 virus shook the world and brought all in-person events to a standstill, changing the ways that people travel, engage in labor, come together, and make and hold place. At the beginning of 2020, businesses across the United States started paying attention to the ways in which the COVID-19 virus had impacted other regions. By March 2020, people in the United States started paying attention to the deadly impact of the virus. Businesses started shutting down, the NBA and college leagues suspended their season, schools closed, and streets were empty, but thousands of Americans were already infected. On March 11, 2020, the World Health Organization declared COVID-19 a pandemic. As of March 12, 2020, one hundred people in the US had died from COVID-19 compilations, and by December 26 of the same year, the death toll had reached 300,000. Due to mandated stay-at-home orders throughout the year, Ballroom events and gatherings at Happiness Lounge ended. The year 2020 was one in which the world changed as we pivoted to slow the spread of the COVID-19 virus. As I write these words in July 2021, more than 331 million Americans have been vaccinated to protect against the COVID-19 virus since vaccine administration started on December 14, 2020. On December 29, 2020, Patricia Cummings, a Black nurse, administered the Moderna COVID-19 vaccine to Vice President Kamala Harris, the first woman of Black and Southeast Asian descent to hold the office of the United States vice president. Vice President Harris received her vaccine on camera to demonstrate to the United States, particularly the Black community, that the vaccine is safe. As a result of the ongoing vaccination campaign, the United States slowly reopened public spaces. Considering the ways in which the COVID-19 virus shuttered many businesses, left many people unemployed, and caused highly anticipated balls and other Black queer events to be canceled across many states, Black queer people showed resiliency before, during, and after the COVID-19 global pandemic.
Cuprins
Contents List of Illustrations Acknowledgments Introduction Chapter 1 Waking Up in Aunt Jeanette’s Place Chapter 2 Starlite, the Warehouse, and Langston’s Chapter 3 Care-Work, Performance, and Kinship Labor in Happiness Lounge Conclusion References Index
Descriere
Via case studies of two Brooklyn nightclubs threatened by gentrification, introduces Black queer spatiality as an analytic method to understand Black queer placemaking, life, and culture.