Craig Jennex - Böcker

Lesbian and gay liberation movements of the twentieth century were made possible through heterogeneous dance music cultures that flourished in urban spaces. In an era of profound political challenges, collective dance enabled lesbian and gay individuals to connect with their bodies and the bodies of others, experience a sense of communal belonging, explore non-normative gender and sexual desires, and perceive individual and collective power in a heteronormative reality that regularly suppressed both. For lesbians and gays, collective dance introduced them to difference as a dynamic catalyst of political change, allowing them to experience the promise of liberation. This Element combines ethnographic research, archival materials, and popular music histories to analyze the role of popular music participation in lesbian and gay liberation in US cities and demonstrate how collective dance served as a transformative site of political contestation and imagination. This title is also available as Open Access on Cambridge Core.

Lesbian and gay liberation movements of the twentieth century were made possible through heterogeneous dance music cultures that flourished in urban spaces. In an era of profound political challenges, collective dance enabled lesbian and gay individuals to connect with their bodies and the bodies of others, experience a sense of communal belonging, explore non-normative gender and sexual desires, and perceive individual and collective power in a heteronormative reality that regularly suppressed both. For lesbians and gays, collective dance introduced them to difference as a dynamic catalyst of political change, allowing them to experience the promise of liberation. This Element combines ethnographic research, archival materials, and popular music histories to analyze the role of popular music participation in lesbian and gay liberation in US cities and demonstrate how collective dance served as a transformative site of political contestation and imagination. This title is also available as Open Access on Cambridge Core.

In today’s culture, popular music is a vital site where ideas about gender and sexuality are imagined and disseminated. Popular Music and the Politics of Hope: Queer and Feminist Interventions explores what that means with a wide-ranging collection of chapters that consider the many ways in which contemporary pop music performances of gender and sexuality are politically engaged and even radical. With analyses rooted in feminist and queer thought, contributors explore music from different genres and locations, including Beyoncé’s Lemonade, A Tribe Called Red’s We Are the Halluci Nation, and celebrations of Vera Lynn’s 100th Birthday.At a bleak moment in global politics, this collection focuses on the concept of critical hope: the chapters consider making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world. Addressing race, class, aging, disability, and colonialism along with gender and sexuality, the authors articulate the diverse ways popular music can contribute to the collective political projects of queerness and feminism. With voices from senior and emerging scholars, this volume offers a snapshot of today’s queer and feminist scholarship on popular music that is an essential read for students and scholars of music and cultural studies.

In today’s culture, popular music is a vital site where ideas about gender and sexuality are imagined and disseminated. Popular Music and the Politics of Hope: Queer and Feminist Interventions explores what that means with a wide-ranging collection of chapters that consider the many ways in which contemporary pop music performances of gender and sexuality are politically engaged and even radical. With analyses rooted in feminist and queer thought, contributors explore music from different genres and locations, including Beyoncé’s Lemonade, A Tribe Called Red’s We Are the Halluci Nation, and celebrations of Vera Lynn’s 100th Birthday.At a bleak moment in global politics, this collection focuses on the concept of critical hope: the chapters consider making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world. Addressing race, class, aging, disability, and colonialism along with gender and sexuality, the authors articulate the diverse ways popular music can contribute to the collective political projects of queerness and feminism. With voices from senior and emerging scholars, this volume offers a snapshot of today’s queer and feminist scholarship on popular music that is an essential read for students and scholars of music and cultural studies.