In studies of gender and sexuality in popular music, the concept of
difference is often a crucial analytic used to detect social
agency; however, the alternative analytic of ambiguity has never
been systematically examined. While difference from heterosexual
norms is taken to be the multivalent sign of resistance,
oppression, and self-invention, it can lead to inflated claims of
the degree and power of difference. This book offers
critically-oriented case studies that examine the theory and
politics of ambiguity. Ambiguity means that there are both positive
and negative implications in any gender and sexuality practices,
both sameness and difference from heteronormativity, and unfixed
possibility in the diverse nature of discourse and practice (rather
than just "difference" among fixed multiplicities). Contributors
present a diverse array of approaches through music, sound, psyche,
body, dance, performance, race, ethnicity, power, discourse, and
history. A wide variety of popular music genres are broached,
including gay circuit remixes, punk rock, Goth music, cross-dress
performance, billboard 100 songs, global pop, and
nineteenth-century minstrelsy. The authors examine the ambiguities
of performance and reception, and address the vexed question of
whether it is possible for genuinely new forms of gender and
sexuality to emerge musically. This book makes a distinctive
contribution to studies of gender and sexuality in popular music,
and will be of interest to fields including Popular Music Studies,
Musicology/Ethnomusicology, Cultural Studies, Queer Studies, and
Media Studies.
General
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