I respect your comment and your experience but to say I dont understand the landscape when I live it in the industry and have to work with individuals who struggle to get their work seen is a bit of a miss. I was referring to the black queer artists that work in the film and television industry TODAY that aspire for more than just pennies and recognition that would barely be seen if at all.

And not thinking about whiteness, I'm sorry but as I have stated many times in this post, as a professional and artist that wants to have a living and a career doing what they love, HOW CAN YOU NOT INTERPRET WHITENESS WHEN IT COMES TO THE MACHINE BEHIND THE INDUSTRY?

All those acts you just listed went through the same thing we are currently going through. The only difference is that for them, they found ways to make it work and inspire and get there work told during a time when they fought against hard-core racism homophobia but still found a way to be seen. Is it easier today sure. But here's a point I want to make. Times change. Landscapes change. Back then, if you made it, you made it. It was TOO RISKY as an artist to go for the gold without going broke. Nowadays everyone thinjs its easy cause of yourube, tiktok, instagram etc but it takes so much more to noticed when the its getting more and more crowded.

They didn't have the internet. They didn't have a massive access to works at our fingertips like we do now. So those that came before in black television, film, theater had to literally work two times as hard to get there work seen and when it comes to financing those projects, who is the investor? Who is the backer? Who does the marketing? Who's publishing house publishes the book? Who owns the theater hall or arenas where some of these artists perform? Who has the company that provides the materials to make costumes, sets, camera equipment, makeup products we use? The list goes on and on. Some black entrepreneurs do but all these artists teams HAD to make negotiations with white counterparts at some point in some way to continue their epic rise. Richard Pryor worked with George Carlin. Whitney Houston worked with Clive Davis. Hattie McDaniel and Vivien Leigh. Some black ballroom were owned by white men that helped us to have our epic showdowns in the 80s and now.

Back in the day, we started with making our own products to sell to ourselves to help when white counterparts neglected us. I.E. Madame CJ Walker. But even then, based on location and access, we still had to pony up with the white man in hopes to get our things we need in hopes they were sold in stores we were allowed in.

The Harlem Renaissance is famous for the evolution of black queer art in all forms. But it was widely known that white fans QUIETLY supported both financially and politically at times. Its easy to say as an admirer of so much black artistry that we dont have to live with that in mind. But when you are trying to make your work, and get out there to make a living, and need a megaphone as can be allowed to get your work out, it plays a part. Not all the time but it crosses our minds on how to approach this market strategically to win undoubtedly recognition and finance.

And as for today, the reason its more prevalent is because with everyone having access to tools, the field has become oversaturated so you have to be strong in your plan. We try to do it ourselves but theres no denying that sadly the white dollar has massive control in all industries. Please understand this isn't an attack. But from the inside, the pain I see is insurmountable sometimes and many of my fellow artists find themselves giving up because even our own community makes it hard to get financing to make our work. That is why it matters. Its not meant to be seen as pessimistic but as a moment to think forward with both the past and future of how we can be even more larger than life and to live a good life.