spectors of the buffet flat

Last night we went out club/bar hopping in downtown Madison. We went to three of Greg's regular haunts but this one place called Plan B was especially jumping. When I go out I love to dance and my 45 year old tale can still move and groove with best of these early twenty somethings, which is what was mainly in the club. While Greg, and the other people we were with, focused on the booze I focused on the boogie! The club was very diverse in terms of race, color and sex which I liked. By the time we left for the next haunt it was packed and there was a line around the building of people waiting to get in.
    It made me think about LGBT people and how we love to strut our stuff and party! We have our own unique sub-culture that must be age old no matter what legal risk existed. The question is how and where did LGBT people in bygone times and places do it? The drag queens and go-go boys are nothing new. The music they danced to must have been bouncy, rhythmic, fast-paced, and live!  But I can't find documentation on this subject. I have found information going back as far as the early to mid twentieth century but that's it. For example, in the 1920's and 30's there were places called  Buffet flats. These places were alot like speakeasies, in which illegal drug, alcohol and gambling went on except buffet flats catered to marginalized people like LGBT's and people of color, and included illegal sexual activities. The word ''buffet'' was used because it meant ''everything'' ... everything in the life. Flat is just another word for apartment which is where these places were. I'm sure they charged a fee to get in and were known by word of mouth. Bi-sexual blues great Bessie Smith often went to them as I'm sure many other famous LGBT people did. They were today's community center, support group, bar/club, bath-house and pride festival all wrapped in one.
    Anyhow, I finished reading the sequel draft today. Now I have to dive into finishing it, the draft that is. I can't say I know exactly what to write though. I know the continuation and ending of the story is inside me. I just have to pull it out. One thing I also must study is the continuity of the two stories. For example I can't have a relative of Kumi's die before Jonathan returns to Rainbow Plantation and then, in the sequel, have that relative working on the plantation when he gets back. And the historical facts have to be consistent. There are alot of those kind of things that must be watched. That's also why my re-reading was important. I might even find myself re-reading the book and the sequel draft again as I'm writing. The books must be as cohesive as I can make them.