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BEAR IDENTITY is inked into my flesh now. I turned fifty in August 2009 and, rather than marking my minor midlife crisis with an affair (too complicated) or a fancy car (too expensive), I opted for a tattoo sleeve, which took months to complete. Among the many symbols of sufficient import to me to wear permanently on my skin is a bear paw, a big one covering the inside of my upper left arm. This visual identification with the gay bear subculture seems timely, for 2010 appears to be my Annus Ursi, Year of the Bear.

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REV. FRED PHELPS gives good curse. Famous for his anti-gay picketing of funerals and other sensational venues, he admits that his vibrant colored signs with provocative epithets (notably “God Hates Fags”) are intended to “get inside people’s heads.” In October, he will receive what he most seeks—national publicity—during an oral argument before the U.S. Supreme Court. The case is critical, and so is an understanding of this man, however tempting it is to dismiss him as a self-parody of bigoted ignorance.

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LAST YEAR marked the thirtieth anniversary of the founding of the Radical Faeries. Since 1979, the Radical Faeries have developed into a vital international gay spirituality and consciousness movement. Along with the AIDS Quilt, the Radical Faeries is arguably the most important ongoing grassroots subculture in the GLBT world at large.

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WHY ARE WE still interested in the lesbian hipster? In part it’s because we can’t stop lurking around her pictures on Facebook, which are beyond cute. But it’s mostly because the “lesbian” and “hipster” worlds seem to have converged so naturally that there’s clearly something going on past Generation X/Y’s universal adoption of any eastward-blowing trend-wind.

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COMPOSED PRIMARILY of African-American and Latino people, many or most of them transgendered, the House and Ball community is a system of “houses” that participate in competitive drag balls. Centered in New York City, the houses have names like Xtravaganza, Ninja, LaBeija, the Garavani, and so on, and are organized as “drag families” headed by a “house mother.” It’s a community that’s as amorphous, inclusive, and diverse as any other GLBT (or lgbtq, etc.) universe.

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BETWEEN THE SUMMERS of 2007 and 2009, I traveled the country interviewing a diverse group of prominent, interesting, and accomplished gay Americans. Out of those interviews—102 in all—came a book, Travels in a Gay Nation: Portraits of LGBTQ Americans, which was published this spring by the University of Wisconsin Press. Throughout the project, diversity was my guiding principle.

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I’M ON A SHIP, a small one built for the rigors of icy seas, not for transporting people comfortably, and so as it rocks and rolls, dips and surges, so does my stomach. We’re riding 25-foot waves, and explosions of salt water are smashing against the small porthole of my cabin. Eventually we get to our destination, where I’m unloaded with the rest of the cargo and a few other people. Here I am, at a station in Antarctica where I’ll be living for a couple of months with a group of scientists and their support staffs.

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BOGOTÁ COULD BE the next big destination for GLBT travelers and transplants, along with some other cities in Colombia. In this capital city of some eight million souls, there are an estimated 500,000 that belong to the GLBT community. With these kinds of numbers, the gay population of Bogotá has not been ignored by local politicians and business people.

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Over two months later, this quiet event was recapitulated in a public way in Israel. I was speaking to a crowd of Israeli men at the Rosa Luxemburg Foundation in Tel Aviv, when the subject became gays in Lebanon. “We’ve heard there is better nightlife there than here,” one man asked, wanting to know about the bars and clubs. The comment shocked some of those in the audience. Beirut was as forbidden to him as Tel Aviv was to Khaled. All the men in the room suddenly leaned forward in attention, wondering what the Lebanese capital, once the Middle East’s most cosmopolitan city, would be like.

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THE DISCOURSE on homosexuality is a major part of current American culture, and it doesn’t show any signs of slowing. Thus, it is all the more noteworthy that a recent production of As You Like It that ran at the Brooklyn Academy of Music earlier this year, directed by Sam Mendes and cast with a bi-national troupe of American and British actors, seems to go out of its way to suppress the homosexual dynamics that are inherent in Shakespeare’s play. An eerie sense of homophobia comes across as this production unfolds.

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