Intersection of LGBTQ and Rap/Hip-Hop Culture

Entertainment is powerful. When a celebrity comes out, whether out of their chauffeured limousine, multi-million dollar house and onto the red carpet, or out of the closet, that admired star will make headlines. Faces of entertainment are powerful in the sense that they can influence; they have paved the way for acceptance and equality for LGBTQ folk. However, the climate of the industry is not always secure. Rap and hip-hop is littered with artists who define their genre with lyrics depicting patriarchal machismo. The genre is not a safe space for music artists who identify as LGBTQ as they defy the social construction of both masculinity and femininity.

Erick Sermon, rapper of EPMD, an American hip-hop group from New York, proclaims that being gay and in hip-hop is “like a curse”. With the fear of possibility being marginalized, coming out and openly identifying as “who you are” is difficult. "When you talk about sports players, too, like we don't know if that's ever gonna happen, 'cause that's like a curse to be in the sports and be gay and be in hip-hop and be gay. You can't be on a basketball team, football team and be homo, and be rapping...and be homo. N----s will kill you" (Sermon, 2012).

With the hip-hop/rap culture stemming from African and African-American music, the deep-rooted homophobia in the black community is brought out. With lyrics like “You faggots scared ‘cause I’m too wild” being acceptable in mainstream music, the acceptance of LGBTQ folk is questioned. The tolerance of slurs against a minority group, who should instead be accepted, is ironic of the provocatively avant-garde music industry.

The hip-hop/rap music culture is not the only chauvinistic community; the intolerance is reminiscent of the experiences from people of color. Chicanos face a very binary attitude in culture as “the privilege of masculinity among Mexican men – whether heterosexual or homosexual – remains a cornerstone of patriarchal Mexican society, which is very resistant to fundamental redefinition and cultural intrusion from the outside” (Alamaguer, 1991). Homosexual men are not accepted in society, especially if they have flamboyant traits.

On the other end of the spectrum, the Filipino community is reported to be “relatively tolerant of homosexuality” and its LGBTQ community members did not feel the pressure to acknowledge their sexual identity; even if members did, they would receive “good responses from families when [people] did ‘come out’” (Manalansan, 1993). The difference in culture is the defining factor of acceptance: the intersectionality of their queer identity and culture is complementary in their society.

Rap and hip-hop does have its open LGBTQ artists. Azaelia Banks and Cazwell are defying the stereotype of the need to be very masculine or very feminine. They, however, will need to face the artists who continue the stigma of strict-male dominance in the genre, and who continue to push intolerance toward the LGBTQ community.

Music is influential, but the intersection of the human element in the genre has hindered the acceptance of multifaceted identities in one person. Duality of queerness and culture should complement each other, not hinder their people and their communities.


Alamaguer, Tomas. "Chicano Men: A Cartography of Homosexual; identity and Behavior." Social Perspectives in Gay and Lesbian Studies. (1998): Print.
Erick Sermon Denies Existence of Gays in Hip Hop. VLADTV, 2012. Web. 23 Feb 2012. <http://www.huffingtonpost.com/2012/02/22/erick-sermon-epmd-rapper-gay-hip-hop_n_1294156.html>.
Manalasan IV, Martin F. "Searching for Community: Filipino Gay Men from New York City." GLQ: A Journal of Lesbian and Gay Studies. (1993): Print.

Pop Culture Aiding in the Pursuit of a Sense of Belonging for LGBTQs

In this post I will elaborate on the importance of safe spaces for the LGBTQ community, not just to seek refuge from harm but to create a sense of community and identity for queers. Through examination of the hit television sitcom Modern Family, author Mary Gray’s idea of “boundary publics”, and analysis of earlier formations of spaces for homosexuals from “Homosexuality and American Society: An Overview” by John D’Emilio I will examine the importance of the current increase in queers in the media and how this cultural shift aids in establishing a notion of belonging for LGBTQ people.

            Since the earliest times of homosexuality in America, spatial arenas for lesbians and gays were of the utmost importance. Because twentieth century called “homosexual behavior a sin and a crime” (D’Emilio, 10) finding a place to go to act as they pleased was the only way queers could meet one another. D’Emilio asserts that “lesbians and gay men formed literacy societies and planned private entertainments that sustained friendships” (12) as their only way for promised social interaction. Although such societies fostered a “collective consciousness and sense of identification” (D’ Emilio, 13) for these gay subcultures, the negative media attention from religion, lawyers, and doctors proved fatal to lesbians’ and gay men’s ability to expose themselves, thus pushing emerging homosexual subcultures further into secrecy. D’Emilio also exclaimed that even in the 1930’s as homosexuality began to rear it head through plays and literature after the “diffusion of Freudian psychoanalysis” the sense of homosexual community was again torn down by “publishers and newspaper editors” (17). Because of the lack of obvious subculture and community queers were almost always left feeling profoundly different from family, friends, and society, thus leading to a “lonely, difficult and… excruciatingly painful experience” (D’Emilio, 18).

            Presently, our nation as created a much more homosexual fostering , even representing, society. While it does need to be noted that our nation still much further to go before LGBTQ individuals are truly equal and no longer such a marginalized group, we are still leaps and bounds ahead of our twentieth century self. Today many churches hang rainbow banners reading, “ All Are Welcome Here”, doctors conduct and even design sexual reconstruction/reassignment surgeries, and supreme court jurisdictions pass laws supporting equal rights for queers. Yet, perhaps most overwhelmingly noticed is the presence of lesbians and gay men in the pop media. In almost every sitcom, television drama, ensemble and even many novels there is a gay character or two. Meaning that a young person growing up gay (or even the elder) can find a meaningful reflection of how he feels at the cinema and in-longing-running popular or family TV series without much difficulty. Reflection of gay lifestyles range everywhere from drug-dealing Lafayette Reynolds in the series True Blood, to doomed cowboys in Brokeback Mountain, to TV sensation Glee with both lesbian and gay characters. The list goes on and on and is an ever-growing body of media that is transgressing sexual repression and shaping LGBTQ individuals belonging to a media culture, which is incredibly prevalent in our modern day society.

            “Boundary publics”, as author Mary Gray describes in her article “From Websites to Wal-mart”, can be used as the blanket term that LGBTQ representing media falls under. This idea of boundary publics is an “ occupation for queer identity… rather than… tangible building or specific streets” it is a term that encompasses the intangible approach for space-making and constitutive process for the queering of identity” (Gray, 53). While many films and show do well in depicting queer characters for lesbians and gay men to identify with, the series Modern Family does the best job creating a multitude of boundary publics through gay couple, Cam and Mitchell.

            The name Modern Family for this series, rather than satirical, can instead be seen as empowering to the queer community. Even if an LGBTQ person does not identify as the queer, white male couple (or other family nuances of the series) they can use the idea of the contemporary family being any individuals no matter what mix of race, sex, or class. Although the traditional femme and masculine roles within gay couples are somewhat played out through Cam and Mitchell, many gay stereotypes are broken. Examples of this are prevalent in nearly every episode of the show. Even in the brief clip from the episode “Mitchell and Cam’s Trophy Fight!” the passive role of the femme male is contested through the argument the couple has, the rural gay is loosely represented (yet, more so exhibited in other episodes) through the brief introduction of Cam’s experience with fishing and the wilderness he grew up in, as well as queers as parents.

Although our society and pop media culture alike must continue to combat heteronormativity and work to include all fortes of the LGBTQ community in boundary publics. In terms of media coverage in the forms of television and movies our nation seems to be making distinguished steps to identifiable sphere of community where queers can be not only out and proud but equal to their homosexual counterparts.

Bibliography

D’Emilio, John “ Homosexuality and American Society: An Overview” from Sexual

Politics, Sexual Communities in the United States 1940-1970. Chicago, III: University of Chicago Press, 1983

Gray, Mary  “From Websites to Wal-Mart: Youth, Identity Work, and the Queering of

            Boundary Publics in Small Town, USA” from American Studies, Vol. 48, No. 2,            Homosexuals in Unexpected Places? A Special Issue (Summer 2007), pp. 49-59

Lloyd, Christopher, prod. "Mitchell and Cam’s Trophy Fight!."

            Modern Family. ABC: 28 Apr 2011. Television.

http://www.youtube.com/watch?v=AiVU8Mfwxa4&feature=results_main&playnext=1&list=PL5E1D67E25E1687C7

J. Edgar: A powerful Homosexual

Since he took over the Bureau of Investigation (known today as the FBI) in 1924, people have speculated about J. Edgar Hoover’s sexual orientation. The new bio-drama J. Edgar depicts Hoover in a new light. Before the film was released, many critics believed the movie would be a portrait of Hoover as a gay man due to the fact that it was written by Dustin Lance Black, who also wrote Milk, the biopic about Harvey Milk. In actuality, the film depicts Hoover as the second most powerful man in the United States government, just below the president. There are, however, gay undertones through out the film. Although it was never verified that Hoover was gay, snippets of gossip are joined by the facts, “He never married, lived with his mother until she died, and had a close lifelong friendship with Clyde Tolson, the tall and handsome bachelor who inherited his estate” (Deccan Chronicle). It is my opinion that Hoover was in fact a gay man, but was to ashamed of his identity to accept himself for who he was.

J. Edgar Hoover was born on New Year’s Day in 1895. In the late 1800s and early 1900s, homosexuality was still seen as a mental disorder that could be reversed with treatment (D’Emilio). To obtain treatment, the patient first had to admit they were homosexual, which Hoover never did. Homosexuals were also not accepted as whole person. Hoover refused to hire women, blacks and homosexuals as FBI agents (Deccan Chronicle). Although Hoover seemed to be homophobic, he was also sure enough of his power that he sometimes held hands with Tolson in restaurants and shared rooms with him when they traveled. In the J. Edgar film, Hoover’s mother gives him a speech about she does not want a son as a “daffodil.” Hoover’s mother uses daffodil as a metaphor to homosexuality. She does not want her son to be seen as delicate, she wants him to be strong and powerful; something gay men can not be. Hoover’s mother made it clear that she would not have a son who was gay.

To hide his shame, Hoover kept secret files of government officials and families of officials that he believed were homosexual. His most famous file was of Eleanor Roosevelt and her alleged lesbian affair with a secretary. Besides being a disappointment to his mother, Hoover also hid his sexuality to keep his job. Barbara Smith wrote, the life-destroying impact of lost jobs, friendships, and family is the work of homophobia (Smith, 100). Although he was a closeted man, Hoover lived in constant fear of being “found out.” The film also tells the story of Tolson and Hoover’s close relationship. The pair ate dinner and lunch together everyday, vacationed together, and worked closely on cases. During on of their vacations, as depicted in the film, Hoover tells Tolson about a woman he wishes to marry and Tolson becomes jealous; he destroys the hotel room and then gets into a physical fight with Hoover when ended in a kiss. Hoover becomes outraged about the kiss, but then expresses how much he needs Tolson in his work life and personal life.

Although J. Edgar Hoover was the second most powerful man in the U.S. Government during his time as the director of the FBI, he was fearful that others would see him as weak if he announced he was homosexual. He did not feel safe or comfortable in his power position to be himself. Only a few people in Hoover’s life knew the real John Edgar Hoover. Trust was very important to Hoover. Those who knew him well, gained his trust, and were by his side until he died in 1972.

Works Cited

D’Emilio, John. “Homosexuality and American Society: An Overview” from Sexual Politics, Sexual Communities in the United States 1940-1970. Chicago, IL: University of Chicago Press, 1983.

Smith, Barbara. “Homophobia: Why Bring it Up?” from The Lesbian and Gay Studies Reader. ed Henry Ablelove et al New York & London: Routledge,1993.

"J. Edgar Review: A Daffodil out of Bureau Drawer | Deccan Chronicle." Deccan Chronicle. Web. 22 Feb. 2012. <http://www.deccanchronicle.com/channels/showbiz/movie-reviews/j-edgar-review-daffodil-out-bureau-drawer-809>.

TV Show Character Helps Beat Homophobia

                The popular show Degrassi: The Next Generation features many stereotypical high-school-sitcom characters: there’s the cheerleader, the nerd, the jock. The difference with Degrassi, however, is that it boldly tackled issues that other high-school-themed series wouldn’t even hint to. Degrassi’s characters faced real world problems such as: sexually transmitted diseases, rape, bullying, eating disorders, and homophobia. Degrassi made an effort to represent one gay young man’s journey in discovering himself. This character, Marco, goes through many hardships, including friend estrangement and being jumped, in the process of coming out and accepting his sexuality. Using Barbara Smith’s “Homophobia: Why Bring It Up?” and John D’Emilio’s “Homosexuality: An Overview”, I will show that Degrassi’s portrayal of Marco helps to combat homophobia by  simply representing a part of the LGBTQ community in popular culture and showing the need for safe spaces and acceptance for the LGBTQ community.

                When Marco comes out to his friend Spinner, Spinner reacts by pushing him and writing “Marco is a fag” on the wall of the school bathroom. Marco faces estrangement from his family also, especially his homophobic father. On top of all this, Marco is physically attacked for being gay as he walked alone at night. D’Emilio, although he writes about the time before the ‘gay emancipation movement’, speaks on Marco’s struggle.  “Coming out – recognizing one’s homosexual desires, subsequently attempting to act upon them …was a lonely, difficult and sometimes excruciatingly painful experience…Sexuality created a profound, even disturbing, sense of difference from family, community, and society.” (20, D’Emilio 1983) However, Degrassi’s portrayal of Marco’s coming out showed an obvious self-realization in the character, something all people struggling with sexuality can relate to and hope for. As D’Emilio says, “Whatever the path by which gay men and women arrived at self-definition based on their sexuality, the labeling of one’s sexual desires marked but the first step in a lifelong journey of discovery that offered challenges, perils, and rewards”(21, D’Emilio, 1983). This coincides perfectly with Degrassi’s character arc of Marco. First, he denies his homosexuality to himself and others, but when he finally confronts it he is faced with both violent hardships and beautiful benefits. Although his coming out caused Marco to be beaten and made fun of, his friend Spinner eventually apologizes and even introduces Marco to Dylan, a character that becomes Marco’s boyfriend. Marco is shown compassion after being jumped and eventually becomes happier as a proud gay man than he was when he was closeted and confused. Degrassi’s character Marco serves the LGBTQ community and society in general simply by representing a young gay man in a positive and sympathetic light. This character made millions of viewers grapple with the issue of homophobia and homosexuality when they otherwise might not have.  Using Marco and his relatable struggle, Degrassi’s writers were urging viewers to accept and create safe spaces for LGBTQ people.

                Smith argues the importance of creating safe spaces as well, “both in the political sphere and upon the awareness of individuals” (101, Smith, 1993).  Degrassi raised the awareness of millions of individuals who watched and felt compassion for Marco.  This representation does have an effect on society, as individual viewers feel attached and empathetic toward Marco. Degrassi, in my opinion (much like the LGBTQ activism that Smith discusses) “served a highly educational function” (101, Smith, 1993) in creating the character of Marco. It is obvious, however, that the problem is not solved yet. I argue along with Smith that activism and the raising of awareness doesn’t fully solve the problem, especially in the school environment that Marco is portrayed in.  “Curriculum that focuses in a positive way upon issues of sexual identity, sexual sexuality, and sexism is still rare… schools are virtual cauldrons of homophobic sentiment, as witnessed by everything from the graffiti in the bathrooms and the put-downs yelled on the playground”(101, Smith, 1993).

 I’ve witnessed this type of harassment in my own experiences and as it happened to Marco. Degrassi’s very real and poignant portrayal of homophobia in society, family, and school serves to wake people up to the issue. Many things will need to be reformed in order to stop homophobia; education, both in school and in family life, needs modification to include LGBTQ issues.   Unfortunately, harassment still happens, though Degrassi did serve in helping to combat it through the character Marco.

               

               

Bibliography

Smith, Barbara. “Homophobia: Why Bring it Up?” from The Lesbian and Gay Studies Reader. ed Henry Ablelove et al New York & London: Routledge,1993.

D’Emilio, John. “Homosexuality and American Society: An Overview.”
Politics, Sexual, Communities in the United States 1940-1970, Chicago
Press, 1983.

 

http://www.youtube.com/watch?v=I7uNqroLDdI

Through Darkness Comes Light

             It is not very often that you see members of the LGBTQ community represented on reality TV. MTV, being well known for it’s reality TV shows such as “Jersey Shore, and “True Life,” decided to change this and give members of the LGBTQ community their own show. This new show is called “It Get’s Better.” David Hinckley wrote an article (2012), “New MTV series tells gay teens that things improve once you have survived the high school years,” about this particular show. The show is made by the creators of the It Gets Better Project and explores the lives of three teens struggling with various issues including coming out and being transgendered. The show documents these struggles and how the teens face and overcome them (Hinckley, 2012). I will examine the multitude of issues faced by these teens as members of the LGBTQ community relating to Barbara Smith’s article (1993) “Homophobia, Why Bring It Up?” and in addition the safe spaces found to cope with these issues similarly found in Mary Gray’s article (2007) “From Websites to Wal-Mart: Youth, Identity Work, and the Queering of Boundary Publics in Small Town, USA.”
             In Smith’s article, she articulates that homophobia is usually the last form of oppression to be recognized and taken seriously. When homosexuality is recognized it is thought to be a white disease, and only affecting wealthy males (Smith, 1993, 113-114). Homosexuality is a lot more diverse than that, and Vanessa from the “It Gets Better” show exemplifies this. Vanessa is a black lesbian teenager whose mother refuses to accept this. Being black herself, you would think her mother would understand the negative effects of oppression of any form, but when it comes to this issue she does not. This refusal to believe that every person has an equal chance of becoming homosexual and denial when it does occur is exactly why it is not taken very seriously. This lack of recognition can potentially be fatal (Smith, 1993, 112), as shown through an additional character Gary on the show. Gary has been sent to the hospital because of his constant effort to be like everyone else and not be gay to please his family. Although he is white, homosexuality is brushed under the rug as something to be dealt with privately, not taking into consideration the life-destroying issues homosexuals face (Smith, 1993, 113). Fortunately, gay lesbian/feminist activism groups have made progress in bringing to light the oppression homosexuals face (Smith, 1993, 114).
             The progress made by activist groups are successful, but many people have decided to take things into their own hands and spread the word further. Gray’s article (2007) investigates members of the LGBTQ community bringing light to homosexuality in rural areas, which sometimes need it the most. A certain LGBTQ group called HPA, has decided to perform drag shows through the aisles of Walmart, allowing Walmart to become a safe spot for homosexuals all around (Gray, 2007, 50). Although the HPA is white males with some spending money in their pockets, it is still a step in the right direction (Gray, 2007, 56). Furthermore, AJ, who is a female to male transgender, decided to take matters into his own hands as well. He created a blog documenting his step-by-step process of sexual reassignment. He came to the conclusion not much information was available on this topic, especially in his area, that provided such in depth detail and thought it should be known to help others dealing with similar things (Gray, 2007, 53-54). AJ is very similar to Ayden on the “It Gets Better” show, who is also a female to male transgender. Instead of sharing his journey through a blog he does it by participating in this television show, providing a safe space for all who watch.
             All of the participants on this show provide a safe space for their viewers by sharing their setbacks and how they dealt with them. Ayden dealt with his setbacks by moving on with his life as a transgender and getting engaged to the women of his dreams. Vanessa continues to identify herself as a colored lesbian despite her mother’s disapproval, and eventually her mother learns to accept it. Lastly, Gary seeks help through support groups and eventually comes out to his family successfully (Hinckley, 2012). The It Get’s Better Project is all about the constant torment and bullying faced by members of the LGBTQ community while young, and tries to show them that things will look up, even though things seem tough. These people have developed a safe space for themselves by taking what life has handed them and accepting it, embracing it, and urging others to embrace it.     


                                                             Works Cited

Hinckley, David. "New MTV Series Tells Gay Teens That Things Improve once
             You  Have Survived the High School Years  ." NY Daily News. 20 Feb. 2012.
             Web. 21 Feb. 2012. <http://www.nydailynews.com/entertainment/television/mtv-
             series-tells-gay-teens-improve-survived-high-school-years-article-1.1025757>.

Smith, Barbara. “Homophobia: Why Bring it Up?” from The Lesbian  and Gay Studies
             Reader. ed Henry Ablelove et al New York& London: Routledge, 1993.

Gray, Mary L. "From Websites to Wal-Mart: Youth, Identity Work, and the Queering of
             Boundary Publics in Small Town, USA." American Studies, Vol. 48, No. 2,
             Homosexuals in Unexpected Places? A Special Issue (Summer 2007), Pp. 49-59.
             Mid-America American Studies Association. Web. 02 Nov. 2012.
             <http://www.jstor.org/stable/40644068>.

Article Link: http://www.nydailynews.com/entertainment/television/mtv-series-tells-gay-teens-improve-survived-high-school-years-article-1.1025757             

Heterosexism in Videogames and their Communities

  Videogames have been used as a way to escape from the troubles and limitations of reality, but one issue has persisted: heterosexism. Homosexuality has been repeatedly classified as “sexually suggestive or explicit” in the ESRB’s rating guide, and still puts a Mature rating on any game with sexuality, specifically LGBTQ themes (“Game Ratings”).  Players themselves are perpetrators of hate speech, with “gay” and “fag” a common slur in many online gaming worlds. I will analyze a recent controversy over an option to choose a gay relationship in an existing Massively Multiplayer Online Roleplaying Game (or MMORPG) using Puar’s written piece, “Monster, Terrorist, Fag”, and Van De Meer’s article, “Bashing a Rite of Passage?”
The recently released MMO called Star Wars: The Old Republic has been a subject of controversy due to their plans to include same-sex relationship options in the gameplay. Roleplaying games have been historically the most inclusive when it comes to LGBTQ characters, with games such as The Sims and Skyrim allowing for homosexual relationships. But even these are recent examples from the last few years, showing how same-sex acknowledgement in the world of gaming is still a new and contested idea. In “Monster, Terrorist, Fag”, Puar writes about the use of rhetoric to portray Islamic people as inhuman and monstrous; terrorists as simultaneously a fag and homophobic (118). This method of othering is used by the Family Research Council (FRC) on gamers who choose to include LGBTQ ideas in this example, the Star Wars MMO. Says the President of the FRC, Tony Perkins, “Star Wars gamers have already gone to the dark side” in addition to claiming homosexual activists a “threat to the empire” (Gray). These kinds of statements are used as a form of community, togetherness, and common enemy similar to nationality in post-9/11 America spoken about by Puar (126).
Beyond the simple inclusion of queer characters and gameplay options, the online gaming community is blatantly offensive to the LGBTQ players.  As demonstrated by a post in the forums of BioWare (Creators of the Star Wars MMO), straight male players expect games to be catered to themselves as the majority, whether specifically marketed that way or not (“Bioware Neglected Their Main Demographic”). In this case, a gamer was clearly offended to have same-sex relationships in a game that did not even actively market or publicize a catering to the straight male gamer. This is brought up by Van De Meer’s article where he points out that perpetrators of hate crimes often felt “the approval of society” regardless of the effects of their actions (156). By being part of the majority, they find equality impedes on their rights, and a natural solution through suppressing the rights of the minority with physical or indirect actions.
Fortunately for those who identify as a LGBTQ gamer, the creators of videogames are beginning to find that the previous force of marketing to the straight male gamer misses a major demographic. In an economic and societal way it makes sense to broaden the target users of games to cater to as many as possible. Years of advertising to a specific demographic has succeeded in bringing in the majority of straight male gamers, and brought with it their heterosexism and lack of any sign of diversity. Game companies of the present and future will shift their focus to include LGBTQ content and stop the exclusion of the “gaymer”, while constantly meeting societal obstacles such as the ones presented by the FRC. The history of marketing bias and present social conditions have put in place a heterosexist stigmatism on a billion-dollar industry that will likely take years to heal.

Sources

Gray, Stephen. "Rebel Alliance Slams Star Wars Game over Gay characters." PinkNews.co.uk. 31 Jan. 2012. Web. 20 Feb. 2012. <http://www.pinknews.co.uk/2012/01/31/rebel-alliance-boycotts-star-wars-game-over-gay-characters/>.

Jasbir Puar “Monster, Terrorist, Fag: The War on Terrorism and the Production of Docile Patriots” in Social Text 72 Vol. 20 No. 3, Fall 2002

Theo Van De Meer “Bashing a Rite of Passage?” in Culture, Health, Sexuality, Vol. 5 No. 2 pp 153-165

"Game Ratings & Descriptor Guide." ESRB Ratings Guide and Definitions. Web. 21 Feb. 2012. <http://www.esrb.org/ratings/ratings_guide.jsp>.

“Bioware Neglected Their Main Demographic: The Straight Male Gamer”.
21 Feb 2012. <http://social.bioware.com/forum/1/topic/304/index/6661775&lf=8>.

Higher Education is a Safe Space for LGBTQ Students

The concept of “safe spaces” has been brought up to the attention of the mainstream only recently, and because of such a narrow time frame, some people would abstractly visualize a room of queer-friendly people who are actively conversing and contemplating about queer issues and topics. However, we live in a hetero-normative world. Only a minute portion of the United States population is openly identified as part of the LGBTQ community. How often would a room be filled with queer-friendly folk? Where can we find this utopian safe space?

             

College frames an environment where people from many backgrounds come together to become educated. Many incoming students find their first taste of the queer community and of a safe space in this framework. Higher education won’t be an option for many LGBTQ students, however, as cost of attendance limits the ability to afford progressive thinking. “Students now graduate with $25,000 in outstanding loans, on average, and the total amount of student loan debt in 2012 is likely to pass the $1 trillion mark. (Valencia, 2012)”

             

Even so, people of different backgrounds, racial, ethnic, religious, and marginalized communities based on sexual orientation, gender identity and expression attend college in search of opportunities to find a more secure and safe society. Working toward a degree empowers both the individual and their entire community with the idea of “passing it forward” and giving back to the community that gave them acceptance and guidance. Programs like the Point Foundation, with scholars “41 percent who are people of color, and 21 percent transgender or gender-variant” allow for students to gain opportunities to re-contribute and foster improvement in society (Valencia, 2012).

             

Unfortunately, many students know the challenging climate of school before entering higher education and simply finishing high school can be a challenge. In a study titled Hostile Hallways II: Bullying, Teasing and Sexual Harassment in School, 83% of girls and 79% of boys reported been sexually harassed with half of them expressing negative impacting their emotional and educational lives (Stein, 2007). Also, Harris Interactive and GLSEN 3 published stating one third of teens report being harassed die to perceived sexual orientation (Stein, 2007). 

             

With many students feeling unsafe, “gay bashing” has become a right of passage. Theo Van Der Meer interviewed 30 gay-bashers in the Netherlands and concluded that assaults were considered to be a passage into masculinity (Van Der Meer, 2003). Male socialization and development becomes problematic in that sense. Children are growing up believing that hurting people gains them a status; naturally these children are likely to target a person who is disadvantaged or different.

             

Campaigns such as Dan Savage’s “It Get’s Better” allow one generation and many allying communities to help another through support and guidance. LGBTQ students are going to college because they want to make it better for others; this desire to progress really inspires the community to stand up to adversity. College is a more rewarding right of passage by helping people who were once the lowest of low, rise to help others rise in their effort to pay it forward. Access to higher education is a tool that ultimately builds solidarity and safety for LGBTQ students.

Stein, Nan. "Bullying, Harassment and Violence Among Students." Radical Teacher. 80. (2007): 30-35. Print.

Valencia, Jorge. "College Makes It Better for LGBT Youth, the LGBT Community, and Society." Huffington Post. (2012): n. page. Web. 9 Feb. 2012. <http://www.huffingtonpost.com/jorge-valencia/college-lgbt-students_b_1229509.html>.

Van Der Meer, Theo. "Gay Bashing: A Right of Passage?." Health & Sexuality. 5.2 (2003): 153-165. Print.