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LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen

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LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen LISTENING TO DRAG: MUSIC, PERFORMANCE AND THE CONSTRUCTION OF OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Elizabeth Kaminski, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Vincent Roscigno, Advisor Professor Verta Taylor _________________________ Advisor Professor Nella Van Dyke Sociology Graduate Program ABSTRACT This study examines how music is utilized in drag performances to create an oppositional culture that challenges dominant structures of gender and sexuality. I situate this analysis in literature on the role of music and other cultural resources in the mobilization of social movement protest. Drawing from multiple sources of data, I demonstrate that drag queen performers make use of popular songs to build solidarity, evoke a sense of injustice, and enhance feelings of agency among audience members – three dimensions of cognition that constitute a collective action framework, conducive to social protest. The analysis is based on observations of drag performances; content analysis of the lyrics of drag songs; intensive interviews with drag queens at the 801 Cabaret in Key West, Florida; focus groups with audience members who attended the shows at the 801 Cabaret; and interviews with drag queen informants in Columbus, Ohio. I demonstrate how drag performers use music to construct new alliances and understandings of gender and sexuality among gay and heterosexual members of the audience. The data illustrate that drag performers strategically select songs to evoke an array of emotions among audience members. First are songs that utilize sympathy, sorrow, and humor to build solidarity. These include songs that are intended to educate heterosexuals about gay life as well as songs that parody heterosexuality. Second are songs that express rage and ii anger over dominant conceptions of gender and sexuality, thus fostering a sense of injustice. Third are songs that heighten audience members’ perceptions of agency by portraying images of powerful women and demonstrating the ability to live one’s life outside of hegemonic gender and sexual constraints. During drag shows, audience members and performers alike engage in gendered and sexual behaviors that transgress binary categories of homosexual/heterosexual and feminine/masculine. Drag shows thus constitute oppositional cultures, or free spaces, where participants enact behaviors that are suppressed in the dominant culture and build politicized views of gender and sexuality. This study therefore provides an empirical example of how music is used as a cultural resource to challenge dominant institutions and construct collective action frameworks necessary to mobilize political protest. iii ACKNOWLEDGMENTS Writing this dissertation has been a rewarding and exciting experience. I first got involved with research on drag queens and music as a research assistant for Verta Taylor, who with Leila Rupp wrote Drag Queens at the 801 Cabaret. Verta and Leila have nurtured my interests and provided entrée into the drag scene in Key West. In addition to sharing their data, they shared their homes (both in Columbus and Key West) and their lives. They offered constant support, advice, mentoring, and affection, serving as wonderful role models in my academic, as well as my personal life. From the first time I landed in Key West, I was hooked. This project gave me the excuse to return several times, often with Leila and Verta. The three of us, along with Josh Gamson, conducted interviews with drag queens and focus groups with audience members at the 801. I owe a great debt to the focus group participants and to the drag queens—Sushi, Milla, RV, Scabby, Margo, Inga, Desiray, Kylie Jean, and Gugi Gomez—for sharing their lives and entertaining me all of those nights at the show. In addition, I attended many drag shows in Columbus, Ohio, in order to provide comparative analysis. The drag queens in Columbus were important “informants” on drag beyond the vacation town of Key West. Even more, they were, and are, fantastic fun. All of them have taught me about the power of music, and the fun of social change. iv As I wrote my dissertation, I relied heavily on my committee—Verta Taylor, Vincent Roscigno, and Nella Van Dyke. Each read numerous drafts of chapters and offered vital feedback as well as consistent encouragement. When Verta relocated to the University of California, Santa Barbara, Vinnie went above and beyond his role as a committee member and became my “official advisor.” In addition to the paper pushing that accompanies a dissertation defense, he was a constant source of intellectual stimulation, offering me suggestions but never allowing me to lose my own voice in this project. He has been an invaluable source of support and creativity in my intellectual life. Nella offered herself as a sounding board for nascent thoughts, developing ideas, and occasional rants. Verta consistently pushed me to think bigger and better and encouraged me to write, even when it seemed impossible. She is intellectually precise, genuinely thoughtful, a generous co-author, and a sharp dresser. Various colleagues in sociology and history have also read drafts and made valuable suggestions for developing my thoughts on music, drag performance, and social change. In particular, I owe special thanks to Anne Collinson, Stephanie Gilmore, Donna Guy, Heather Miller, Leila Rupp, and Griff Tester. Other friends attended shows with me, provided stimulating and provocative conversations about drag and music, and helped me find joy in my research and my life. To Anne Collinson, Martha Crowley, Sandy Daniels, Laura Gates, Stephanie Gilmore, Jen Rosen, Chad Schone and Griff Tester, Nella Van Dyke and Irenee Beattie, Jason Whitesel, and Rachel Woldoff, I thank you for supporting me while I wrote this project and for sharing laughter, food, drink, and a passion for music. I owe a particular debt to my friend of over fifteen years, Mark Millsaps. Mark’s life (and budding amateur drag career as Amber Dexterous) was cut short in November v 2002, but he is always with me. Not only did Mark take me to my first drag show, he also taught me how to be a true friend. I am also especially grateful for my family’s support. My father, Vincent, and mother, Margaret, never questioned my decision to pursue a Ph.D., and they have always been a constant source of encouragement and love. My father’s calm nature, love for music, and passion for learning continue to inspire me. My mother, and my biggest advocate, has helped me persevere through all of life’s challenges and taught me how to “pay my dues” while “keeping my powder dry.” My sisters, MargaretAnn and Jennifer, brother Vincent, and nephew Zane have encouraged me to complete my degree, and I am grateful for their love and support. In addition, Gian Mario Besana has offered understanding and enthusiasm and is an important part of my family. Perhaps the most predictable – although somewhat insistent – sources of support were my two beautiful dogs, Fred and Raleigh. They have given me unconditional love, often forgiving me for working instead of taking them for a walk to the park. They are fantastic reminders to be silly and fun and to enjoy life. Through every stage of this project, my partner Stephanie Gilmore has been encouraging, helpful, excited, and extremely patient. She has read every word of this dissertation (more than once), provided editorial advice, listened to me when my ideas were still incoherent, provided enthusiasm when I lacked energy, attended drag shows with me, cooked meals for informants (who sometimes canceled when the food was already prepared), and made me laugh every day. I suppose I could have done this without her, but I certainly would not want to. She is my best friend, my love, and my life partner. This is for us. vi VITA April 17, 1972………………………………Born – Lorain, Ohio 1994…………………………………………B.A. Sociology, Northwestern University 1997…………………………………………M.A. Sociology, Ohio State University 1994 – present……………………………....Graduate Teaching and Research Associate, Ohio State University PUBLICATIONS 1. Taylor, Verta; Elizabeth Kaminski; and Kimberly Dugan. 2002. “From the Bowery to the Castro: Communities, Identities, and Movements.” Pp. 99-114 in The Handbook of Lesbian and Gay Studies, edited by Diane Richardson and Steven Seidman. London: Sage Publications. 2. Kaminski, Elizabeth and Verta Taylor. 2001. “Constructing Identities in Gay and Lesbian Communities.” Pp. 75-84 in Gender Mosaics: Social Perspectives, edited by Dana Vannoy. Los Angeles: Roxbury Publishing 3. Kaminski, Elizabeth. 2000. “Lesbian Health: Social Context, Sexual Identity, and Well-Being.” The Journal of Lesbian Studies 4: 87-101. 4. Kaminski, Elizabeth and Verta Taylor. 2000. “Lesbian Studies in Sociology.” Pp. 716 – 720 in Lesbian Histories and Cultures, edited by Bonnie Zimmerman. New York: Garland. 5. Kaminski, Elizabeth and Verta Taylor. 2000. “Communities: Lesbian.” Pp. 158 - 159 in The Reader’s Guide to Lesbian and Gay Studies, edited by Timothy F. Murphy. Chicago: Fitzroy Dearborn Publishers. vii 6. Kaminski, Elizabeth. 2000. “Health and Illness: Lesbian.” Pp. 76-77 in The Readers’ Guide to Lesbian and Gay Studies, edited by Timothy F. Murphy. Chicago: Fitzroy Dearborn Publishers. FIELDS OF STUDY Major Field: Sociology viii TABLE OF CONTENTS Page Abstract………………………………………………………………………………….ii Acknowledgments……………………………………………………………………....iv
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