By Jodie Taylor
Renowned tune has constantly been a dynamic mediator of gender and sexuality, and a effective website of uprising, oddity and queerness. The transformative means of music-making, functionality and intake is helping us to make feel of id and permits us to glimpse otherworldliness, arousing the political mind's eye. With an activist voice that's impassioned but adherent to scholarly rigour, Playing it Queer offers an unique and compelling ethnographic account of the connection among well known track, queer self-fashioning and (sub)cultural world-making.
This booklet starts off with a accomplished survey and important review of proper literatures on queer identification and political debates in addition to renowned song, identification and (sub)cultural kind. Contextualised inside an in depth heritage of queer sensibilities and inventive practices, together with camp, drag, genderfuck, queercore, feminist track and membership cultures, the author’s wealthy empirical reports of neighborhood performers and translocal scenes in detail seize the which means and cost of renowned musics and (sub)cultural kind in daily queer lives.
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Additional info for Playing it Queer: Popular Music, Identity and Queer World-making
The counter-cultural politics of the 1960s were sweeping the Western world, and while Stonewall did not single-handedly launch a movement, it symbolically marks a shift in the assimilationist agendas of the homophile politics and towards a revolutionary counter-cultural logic akin to other political demonstrations of the era. For many lesbians and gays in the post-Stonewall era, collective pride became a platform upon which liberationist efforts were mobilised and a new and publicly visible identity was constructed.
Some womenidentified women avoided replicating the oppressive politics of heterosexual hegemony through a rejection of all men, masculinity and even certain kinds of sex between women, such as sex with a dildo (a phallicshaped object), which they saw as male-supremacist and anti-feminist. Still other women-identified women believed – as did liberationists – that gender role rigidity was grounded in male supremacy and oppressing to all people, and thus a deconstruction of these roles would lead to erotic freedom for everyone.
30–31, emphasis in original) Here, Butler is arguing that any notion of an original – thus natural or ‘normal’ – gender or sexual identity is a fiction because there is no original. Instead, these concepts are made intelligible via a matrix of power: the heterosexual matrix (Butler, 1990, 1997). The logic purported by the heterosexual matrix suggests that our biologically categorised body determines the expression of gender and, in turn, gender determines the bodies/objects we are normatively permitted to desire.