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The Fierce Tribe Utah State University DigitalCommons@USU All USU Press Publications USU Press 2008 The Fierce Tribe Mickey Weems Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation Weems, M. (2008). The fierce tribe: Masculine identity and performance in the Circuit. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. !"#$%&#'(#$!'&)# ,*&&$-+.')/+0$+12$3456$#*)74*68$999:;4567*)74*6:7<0 !"#$%&'()*+$ !"#$%&#'(#$!'&)# *+,-./012$&3214045$+13$627897:+1-2$ 01$4;2$(07-.04 *0-<25$=22:, Utah State University Press Logan, Utah Copyright ©2008 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322­7200 www.usu.edu/usupress Manufactured in the United States of America Printed on recycled, acid­free paper ISBN: 978–0–87421–691–2 (cloth) ISBN: 978–0–87421–692–9 (e­book) !"#$%&'#($)*+,#$-+.$/.#0$1&$+0'#(1).#$1"#$2(.1$3/+4)+$5+(1)#.$)6$7&4/*8/.9$:")&;$!"#$ original photo is by Ric Brown and Bulldog Productions, www.bulldogproductions.net; design by Kevin Mason. Used by permission. Library of Congress Cataloging­in­Publication Data Weems, Mickey. $$!"#$2#(%#$1()8#$<$*+.%/4)6#$)0#61)1=$+60$5#(>&(*+6%#$)6$1"#$7)(%/)1$?$@)%A#=$B##*.; p. cm. Includes bibliographical references. ISBN 978­0­87421­691­2 (cloth : alk. paper) ­­ ISBN 978­0­87421­692­9 (e­book) 1. Gay and lesbian dance parties­­Social aspects­­United States. 2. Gay culture­­United States. 3. Gay men­­United States­­Identity. I. Title. GV1749.5.W44 2008 306.76’60973­­dc22 2008034568 =<$>'?*1$@+5<18$0A$.'&<?'2 (>?!#?!@ Acknowledgments ix Preface xi Introduction: Fascists and Whores 1 6A'!$&$%&#'(# 1. Banishing the God of Mediocrity 7 2. The Few, the Proud, the Cracked 13 3. Thousands of Dancing Gay Men 22 4. Fierceness 29 5. The Girlfriends 57 6. Harm Reduction 70 6A'!$&&$!'&)#$ 7. A History of Festive Homosexuality: 1700–1969 CE 81 8. A History of the Circuit(s): 1969 CE­Present 101 C;$D$!+4#$&>$!-&$7)1)#.<$E:FD$+60$@GD$ $ $ HIJ 6A'!$&&&$6BC@# 10. Popular Dance 163 11. Axé 184 HK;$L(&*$@+(%")6,$M&40)#($1&$N+6%)6,$3/##6$ $ $ HCO 6A'!$&D$#(@!A@E 13. The DJ 215 HI;$M1#55)6,$:/1$$$KKP Bibliography 257 Discography 264 Index 266 3'55'$>)'*6K0+18$L2('$E4.&*7+6*<158$999:'2('.<56<1:7<0: "<41($7<4B&'$+6$CD*6'$E+)6AFE+&0$GB)*1(5$HIIJ:$ A-<19F/23G:214, Abel Aguilera, Elliot Alexander, Mark Alexander, Ann Allen, John D44#=9$Q&"6$D6.#449$F+(.RS#1#($D60#(.#69$:T&$D(#-+9$U&88=$D/9$V00)#$ Babbage, Blake Baker, Jeff Lynn Baker, Mark Baker, Peter Barona, Ross Berger, Roland Belmares, John “Jellybean” Benitez, Joe Bermudez, Phil Bhullar, Don Bishop, Mark Blecher, Lyne Boulé, Erika Bourguignon, Nick Boyce, Júlio Santana Braga, Simon Bronner, Melissa Brouard, Alan Brown, Ric Brown, Carol Burke, Thomas Burton, Diane Bush, Alyson Calagna, Steve Ceplenski, Pei Chang, Gina Chavez, Ed Childs, Johnny Chisholm, Carlo Chiocchio, Curtis Clifford, Gary Clinton, Kat Coric, Vivaldo da Costa Lima, S. Cromwell Crawford, DJ Dadt, Michael Daniels, Chris Davis, Inaya Day, DD, Lorenzo de Almeida, Rick Delaney, George Dellinger, Angie Denmon, Laura de Palma, Márcia de Souza, Robert Doyle, Mike Duretto, Monty Eckart, Christine Embon, Rob Engel, John Farley, Yvette Fernandez, Alan Flippen, Hector Fonseca, Jeff Fox, Craig Fuller, Dominic Galleli, Bob Ganem, Joe Gauthreaux, Gazelle, Gia, Adam Gill, Warren Gluck, Paulo Gois, Karrie Goldberg, Kevin Goodrich, Joe Goodwin, Pauline Greenhill, Stephan Grondin, Tim Guimond, Barry Harris, Karen Hartley, Ken Harwood, Tony Hayden, Chris Hayes, Greg Haynes, Frank Herbert, Joe W)%A#(.&69$S+/4$W)6X*+69$B#60=$W/619$Y/..$W/61#(9$S&-#($G626)1)9$ Abiola Irele, Bassi Irele, Drew Jackson, Gary James, Jeremy James, Mark Jordan, Joey Juan, Eric Jundt, Noelle Kahanu, Steve Kammon, Betty Kang, Matt Kalkhoff, Agnes Keating, Jeff Kennedy, Bill King, Seymour Kleinman, David Knapp, Frankie Knuckles, Mikey Kon, Q#..#$Z(#)1X*+69$Z().$Z/8+.1+9$Y+T$F+"&1)9$M1#'#$F+*9$@+()+$F+60#.9$ Rob Levy, David Ling Lee, Robbie Leslie, Jenn Litt, Barbara Lloyd, @)A#$F/%X+T9$D44#6$F/6,&9$B+0#$@+,,#(19$7"().$@+669$Q/4)+6$@+(."9$ Edward Martelino, Erikk Martin, John Martin, Ray Martinez­Weems, Michael Matar, Victor Mauro, Tom McBride, Jason McPhail, Lawrence McGauley, Kevin McKee, Andria Michaels, Dan Miller, Don Millinger, Dean Miner, Timothy Miracle, Rick Mitchell, Susan Morabito, Tony Moran, Bill Mucha, Pat Mullen, César Murillo, Travis Mylander, Ultra E+1[9$ N&(&1"=$ E&=#.9$ M%&11$ E/.8+/*9$ M1#'#$ :0)69$ U()+6$ S+00)%A9$ Shawn Palacious, Jay Pappas, Ana Paula, Ben Peraza, Brian Pfeifer, Candida Scott Piel, Pilot, Thomas Piontek, Lou Piper, Jeff Pitzer, N#(#A$S4+619$F=0)+$S()*9$U)44$S/44#69$7"/%A$3/+(4#.9$S+11)$Y+XX#1&9$ Jake Resnicow, Andy Reynolds, Corbett Reynolds, Paul Richard, Shane Rogers, Ralphi Rosario, Caroline Rousse, Jeffrey Sanker, Sammi Sanna, Stella Azevedo Santos, Michael Saso, Sean Selman, Ric Sena, Smriti Shrinivas, Nicky Siano, Smitty, Rick Sonenklar, Don Spradlin, Gary Steinberg, Michelle Stonelake, Michael Talley, Adam Tanner, William Taylor, Pierre­Paul Tellier, Jennifer Terry, Mark Thompson, Clovis Thorn, Cory Thorne, Alan Tiebaldeo, José Torrealba, Karloz Torres, Brian Tyler, William Tyler, Hugh Urban, Niels Van Loo, Jack Van Ryn, Scott Van Tussenbrook, Chris Verdugo, Anne Weems, Dawn Weems, Fred Weems (elder and younger), Debbie Weems­Van Ryn, Steve Weinstein, Charlie Wentworth, Priscilla Wentworth, Cy Whitney, Jim Windsor, Hilton Wolman, Leslie Yarborough; and the following salutations: F+(&=[\Z+8)#.)4#\D1]1]\D)#$ ^#&/\:,/6$ ^#\V5+((#)$ :=+\ :A[$D(&\V5+$U+8+\:0&$^+; 6728+-2 There are also cases of people coming together and creating festivity out of nothing, or at least without the excuse of a commercial concert or athletic event…. Gay male culture features “circuit parties,” involving dancing and sometimes costuming, and with the help from chemical stimulants, these can go on for days. —Barbara Ehrenreich, Dancing in the Streets (258) 6ublic attitudes toward Gay men in the United States and Canada have improved immensely in the last few years. Some books in recent popular literature highlight the positive impact Gay men have made on society. How the Homosexuals Saved Civilization by Cathy Crimmins (New York: Jeremy P. Tarcher, 2004) and The Soul Beneath the Skin by David Nimmons (published in 2002) single out Gay male culture as making ethically and aesthetically important contributions to human­ ity. Nimmons goes so far as to praise the huge dance events for Gay men and their allies called the Circuit (156–68), as does Barbara Ehrenreich in her popular book on festive culture, Dancing in the Streets (New York: Metropolitan Books, 2006). These books are often dismissed as clever readings in pop culture rather than scholarly works. Nevertheless, Crimmons, Nimmons, and Ehrenreich have reached hundreds of thousands of readers, many more than the typical academician could ever engage, and they do it by writ­ ing in an entertaining and accessible fashion. I hope to reach a fraction of that larger audience who might never buy a scholarly text such as The Fierce Tribe for fear it would bore them. The Fierce Tribe is an ethnography based on information gathered from members of the Circuit community and my own lived experience as a U.S. Marine, a participant­observer studying African Brazilian religion, a scholar versed in multiple academic disciplines, a Circuiteer, +$M1(+),"1$*+6$>&($1"#$2(.1$1")(1=R#),"1$=#+(.$&>$*=$4)>#9$+60$+$_+=$*+6$ for the last twelve years. This text is also teleological: it advocates for the Circuit, an outlaw community, by portraying it as a positive model for performance of nonviolent masculinity. A Circuit event is a carnivalesque exercise in excess. Its members gather for weekends at a time, dance much more than they sleep, get M* OA11$@7G6+6658$999:B')5<1+&B+B+)+KK*+6&:7<0 #<4B&'$+6$E'15+7<&+$%.)+7+2+.)+$HIIN$ 6728+-2$ H000 intoxicated as they dance, and renegotiate barriers that separate them as they engage each other sensually, comically, and emotionally. The Circuit community may appear undisciplined to outsiders, and in many ways it is. It does not, however, lack discipline in preparation and performance. There are many forms of personal and social discipline (grooming, weightlifting, diet, self­control, presenting a public face, verbal virtuosity, strong taboos against physical violence, knowledge of intoxicants and individual tolerances) that are part of the Circuit’s askesis. But they may be practiced in ways that contradict the norms and laws of the larger Gay community and the general public. The history of the Circuit community is intimately entwined with 1"#$").1&(=$&>$1"#$F_U!31 community, which is marked by a tendency for festive resistance and an amazing capacity to laugh at oppressors. V`5#()#6%#.$ &>$ 7)(%/)1##(.$ +.$ 1"#=$ %&6,(#,+1#$ &6$ 1"#$ 0+6%#$ a&&($ +(#$ grounded in performances of music and dance that have histories of their own in American popular culture. Participants draw from post­ Stonewall expressions of festive Gay camp, and they express the ultra­ masculine sexuality and muscular body­image of the iconic, macho­Gay clone. Music and movement developed for the Circuit are deeply rooted in both African American and military cultures. The spirituality that is generated at Circuit parties resembles ecstatic expressions of the Black church and traditional African religion, as well as the profound solidar­ ity that men in uniform share as they march.
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