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Homosexuality and the 1960S Crisis of Masculinity in the Gay Deceivers
Why Don’t You Take Your Dress Off and Fight Like a Man? WHY DON’T YOU TAKE YOUR DRESS OFF AND FIGHT LIKE A MAN?: HOMOSEXUALITY AND THE 1960S CRISIS OF MASCULINITY IN THE GAY DECEIVERS BRIAN W OODMAN University of Kansas During the 1960s, it seemed like everything changed. The youth culture shook up the status quo of the United States with its inves- titure in the counterculture, drugs, and rock and roll. Students turned their universities upside-down with the spirit of protest as they fought for free speech and equality and against the Vietnam War. Many previously ignored groups, such as African Americans and women, stood up for their rights. Radical politics began to challenge the primacy of the staid old national parties. “The Kids” were now in charge, and the traditional social and cultural roles were being challenged. Everything old was old-fashioned, and the future had never seemed more unknown. Nowhere was this spirit of youthful metamorphosis more ob- vious than in the transformation of views of sexuality. In the 1960s sexuality was finally removed from its private closet and cele- brated in the public sphere. Much of the nation latched onto this new feeling of openness and freedom toward sexual expression. In the era of “free love” that characterized the latter part of the decade, many individuals began to explore their own sexuality as well as what it meant to be a traditional man or woman. It is from this historical context that the Hollywood B-movie The Gay Deceivers (1969) emerged. This small exploitation film, directed by Bruce Kessler and written by Jerome Wish, capitalizes on the new view of sexuality in the 1960s with its novel (at least for the times) comedic exploration of homosexu- ality. -
Sissies by Brandon Hayes ; Claude J
Sissies by Brandon Hayes ; Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com Sissy as a term for an effeminate male developed from its use as an affectionate variant of "sister"; it then came to be used as a disparaging term for boys who behaved like girls. The American Heritage Dictionary defines sissy as "a boy or man regarded as effeminate." The term is pejorative, and its use as such has powerful effects on male behavior generally. It serves as a kind of social control to enforce "gender appropriate" behavior. Indeed, so strong is its power that, in order to avoid being labeled a sissy, many boys--both those who grow up to be homosexual and those who grow up to be heterosexual--consciously attempt to redirect their interests and inclinations from suspect areas such as, for example, hair styling or the arts toward stereotypically masculine interests such as sports or engineering. In addition, they frequently repress-- sometimes at great cost--aspects of their personalities that might be associated with the feminine. At the root of the stigma attached to sissies is the fear and hatred of homosexuality and, to a lesser extent, of women. Certainly, much of the anxiety aroused by boys who are perceived as sissies is the fear (and expectation) that they will grow up to be homosexuals. The stigmatizing power of the term has had particularly strong repercussions on gay male behavior, as well as on the way that gay men are perceived, both by heterosexuals and by each other. -
A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics. -
`This Right of Privacy'
4.1.41..4.444.y •■•■,44., s4.61:144.: , RVER SE 250 OBA Journal of Free Voices A Window to the South Feb. 16, 1973 `This right of privacy' Austin them, but because irrational emotionalism The decision came down the day infects them. And during the last 20, 30, Lyndon Johnson died and the impending 40, 50 years of public discussion of peace in Vietnam topped even that story. abortion, both sides have always seen the It was not what you call your slow news question, finally, as one of Right Against day, so the impact was muted. But it was Wrong. This has been true of the abortion not just the timing — even those who have debate to a far greater extent than it is of fought for, worked for and believed most public debates on such simple topics as deeply in the reform of our abortion laws defense posture, welfare reform, campaign did not feel like celebrating. There was one spending and the like. For example, who report of a party in the San Francisco could ever forget the Solid Rock League? office of the National Organization of For those of you who have never had a Women, but for many feminists it just chance to forget them, it should be noted didn't seem like a champagne occasion. It that the Solid Rock League of Women of was a little like the end of the war — more Houston is against genocide or child relief than joy. Sarah Weddington said slaughter. The Solid Rockers also oppose calmly that she was "pleased, very common-law marriages for teenagers, pleased." She is the Texas lawyer who won pornography and "the taking away of the case. -
Judith Butler and a Pedagogy of Dancing Resilience Joshua M
Judith Butler and a Pedagogy of Dancing Resilience Joshua M. Hall The Journal of Aesthetic Education, Volume 54, Number 3, Fall 2020, pp. 1-16 (Article) Published by University of Illinois Press For additional information about this article https://muse.jhu.edu/article/760813 [ Access provided at 9 Oct 2020 19:39 GMT from California State University @ San Marcos ] Judith Butler and a Pedagogy of Dancing Resilience JOSHUA M. HALL Abstract. This essay is part of a larger project in which I construct a new, historically informed, social justice–centered philosophy of dance, centered on four central phenomenological constructs, or “moves.” This essay, in particular, is about the fourth move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in the analysis of various Wittgensteinian “families” of dance, which, in turn, could facilitate positive educational changes in philosophy, dance, and soci- ety, with particular efficacy on the axis of gender. In brief, by teaching a conception of strength as vulnerability (instead of machismo’s view of strength as apathetic “toughness”), a pedagogy of dancing resil- ience provides additional support for feminists (including Anzaldúa, Haraway, Butler, and Concepción) who advocate a cautious openness toward seemingly unlikely resources and allies (including analytic methodologies, Machiavellian politics, and the discourses of the natu- ral sciences). This article is part of a larger project in which I suggest, based on eighteen years of experience as a dancer and choreographer, a historically informed philosophy of dance built around four central concepts, or “moves.”1 Joshua M. -
QUEER UTOPIA and REPARATION: RECLAIMING FAILURE, VULNERABILITY, and SHAME in DRAG PERFORMANCE by Rodrigo Peroni Submitted to C
QUEER UTOPIA AND REPARATION: RECLAIMING FAILURE, VULNERABILITY, AND SHAME IN DRAG PERFORMANCE By Rodrigo Peroni Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Critical Gender Studies. Supervisor: Professor Eszter Timár Second Reader: Erzsébet Barát CEU eTD Collection Budapest, Hungary 2017 Abstract This thesis discusses the critical and queer utopian potential of two performances by Ongina and Alaska Thunderfuck - two contemporary American drag queens. Based on Ongina’s “Beautiful” lip-sync performance and Alaska Thunderfuck's “Your Makeup Is Terrible” video clip, I argue that the performance of failure, vulnerability, and shame troubles multiculturalist discourses for their perpetuation of the neoliberal and masculinist values of individual success (chapter 1), authentic autonomy (chapter 2), and proud stable identity (chapter 3). While and because these performances defy the drag genre’s conventions and drive us to reconsider the prevalent forms of resistance to heterosexism, they also engender a queer utopian potential that allows the imagining and experiencing of alternative ethics. I rely on José Esteban Muñoz’s concept of disidentification and Eve Sedgwick’s notions of paranoid and reparative reading to propose queer communitarian bondings that are not radical nor durable but more inclusive and self-transformative. By interpreting ugliness as failure, I argue that in uglifying themselves Ongina and Alaska expose the meritocracy of neoliberalism and suggest an ethics based not on aesthetic pleasure but on a reparative appreciation of the awful that queers the very notion of community for not holding on to stable identities nor individual achievements. Drawing on a Levinasian discussion of vulnerability and care, I discuss how Alaska disidentifies with the reality TV show RuPaul’s Drag Race's deployment of vulnerability as relatable authenticity while suggesting an alternative ethics with which to encounter the Other based on witnessing, risk, and ungraspability. -
Christina Tente
'...and just set that body on fire!' Posthuman perspectives on the body, becomings, and sticky encounters in vogue femme. A Master Thesis for the Degree of Master of Arts (120 credits) in Visual Culture Christina Tente Division of Art History and Visual Studies Department of Arts and Cultural Sciences Lund University KOVM12, Master Thesis, 30 credits Supervisor: Peter Bengtsen Spring semester 2020 Acknowledgements I would like to thank my sources in Malmö and Berlin: the lovely voguers A., D., F., H., J., M., R., S., and the three wonderful people who decided to remain completely anonymous, a.k.a. the Anonymous Sources A, B, and C. I am very thankful that you welcomed and agreed to talk to me, that you let me watch and you danced with me, and that you shared your stories, your experiences and your own embodied interpretations of voguing. I sincerely hope that this thesis reflects your beauty, creativity and uniqueness. I would also like to thank my supervisor, Peter Bengtsen, for the support and the generous guidance, as well as for being so thorough, honest, analytical and critical throughout this process. Finally, I would like to give special thanks to my people, who really helped me, even though they might not be aware of it : Thank you, Karen K., for the talks, the walks, the rants, and the sunny coffee breaks. Your friendship kept me sane during the frantic writing process. Thank you, Tobias E., for your love, kindness, patience and support. You are the best company at the balls and, because of your resourcefulness, I managed to conduct the interviews despite my malfunctioning recorder and camera. -
Drag Shows: Drag Queens and Female Impersonators by Andres Mario Zervigon
Drag Shows: Drag Queens and Female Impersonators by Andres Mario Zervigon Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Drag performer Lady Bunny. Female impersonation appears to have existed through the length of human Portrait by Sasha civilization and the breadth of its cultures. Ancient Roman literature and history Vaughn, courtesy feature a multitude of male cross-dressers, while in numerous Native American ladybunny.net. cultures, cross-dressing berdaches were respected as prophets and seers who were able to glimpse the world through both masculine and feminine perspectives. In the late nineteenth century, Richard von Krafft-Ebing observed in his Psychopathia Sexualis (1887) that the smallest German hamlets often featured drag culture. In contemporary India men who choose to live and dance as women are regarded with particular religious reverence. Female Impersonation and Sexual Identity Female impersonation need say nothing about sexual identity. For example, many male actors in Elizabethan England and in the classical Chinese theater performed female roles because women were generally banned from the stage. Whether or not these performances blurred the sexual identification of the actors remains a point of debate in social and theater history and a focus of recent films such as Shakespeare in Love (1998) and Farewell My Concubine (1993). Although transvestism, a term coined by Magnus Hirschfeld in 1910 and derived from the Latin for "across" and "dress," is practiced mostly by heterosexual males, the performance of female impersonation has come to be associated particularly with glbtq culture. Why this should be so is not altogether clear, but it may be that gender transgression is a component of sexual transgression or at least evokes empathy among those crossing sexual boundaries, particularly when these boundaries seem difficult to define. -
Cross Dressing Newsletters Collection
http://oac.cdlib.org/findaid/ark:/13030/c8b85b29 No online items Guide to the Cross Dressing Newsletters Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Cross Dressing SC.CDN 1 Newsletters Collection Contributing Institution: Special Collections & Archives Title: Cross Dressing Newsletters Collection Creator: California State University, Northridge. University Library Identifier/Call Number: SC.CDN Extent: 9.17 linear feet Date (inclusive): 1974-2001 Abstract: This collection consists of newsletters issued by local chapters of Tri-Ess (an educational and support group for heterosexual cross dressers) in the United States, and independent groups in the US and abroad. The newsletters report local activities, discuss current topical issues, and in general serve as a forum for the interests and concerns of the cross dressing community. Language of Material: English Historical Note: The library created this collection of materials for study and research. Scope and Contents The Cross Dressing Newsletters Collection consists of newsletters issued by local chapters of Tri-Ess (an educational and support group for heterosexual cross dressers) in the United States, and independent groups in the US and abroad. The newsletters report local activities, discuss current topical issues, and in general serve as a forum for the interests and concerns of the cross dressing community. Most are written, printed, and reproduced by members. They vary in length from a single sheet to ten or fifteen pages. These materials are arranged alphabetically by title of publication. -
The History and Representation of Drag in Popular Culture; How We Got to Rupaul
MASARYK UNIVERSITY FACULTY OF ARTS The History and Representation of Drag in Popular Culture; How We Got to RuPaul Bachelor's thesis MICHAELA SEVEROVÄ Supervisor: Jeffrey Alan Vanderziel, B.A. Department of English and American Studies English Language and Literature Brno 2021 MUNI ARTS THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Bibliographic record Author: Michaela Severovä Faculty of Arts Masaryk University Title of Thesis: The History and Representation of Drag in Popular Culture; How We Got to RuPaul Degree Program: English Language and Literature Supervisor: Jeffrey Alan Vanderziel, B.A. Year: 2021 Number of Pages: 72 Keywords: drag queens, RuPauVs Drag Race, drag, LGBTQ+, representation, queer culture, sexuality 2 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Abstract This bachelor thesis deals with drag and its representation in popular culture, focus• ing on RuPaul's Drag Race. It analyses the representation of drag by explaining some basic terms and the study of the history of drag. It then analyses the evolution of the representation of drag queens in movies and shows. The main focus of this thesis is the American TV show RuPaul's Drag Race and how it changed the portrayal of drag and the LGBTQ+ community in popular culture. The thesis questions if the show is as progressive and diverse as it proclaims to be and if it shows the authentic image of drag culture. 3 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Declaration I hereby declare that this thesis with title The History and Representation of Drag in Popular Culture; How We Got to RuPaul I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my thesis. -
!]\F Naissance ~Ws 1L
. !]\fnaissance ~ws 1l. Volume 6, No. 3 Vision - Integrity - Quality March, 1992 Police departments cop out on transsexual's civil rights by Elsa Larson the "male" of"female" blocks on the male, and was unconvinced when and Paula Jordan Sinclair A transsexual member of the application, instead noting that she she explained that she had followed Lower Susquehanna Valley chap is a male-to-female transsexual. the Pennsylvania Department of ter of Renaissance ran afoul of two That didn't fly with officials, and Motor Vehicles procedure for chang police departments when she tried they forced her to check the male ing the sex designation of licenses. to get hired as a cop. A detective at block. Now that she is two years He also was unmoved when she the Harrisburg police department into the "real life test" required produced documentation from her was so incensed that her drivers' before sexual reassignment surgery, counselor. license said she is female that he she returned to the police depart Glad called in another officer, an detained her for four hours and ment to change her sex designation "expert" on drivers' licenses, Cpl. threatened her with arrest and a to female. Isaac Nixon. Both Glad and Nixon strip search. Shortly afterward, The process seemed to be pro made it clear to Streeper that they police in Upper Allen said she was a ceeding smoothly with routine in were going to arrest her for carrying prime suspect in a criminal case. terviews and fingerprinting. The false identification. They repeatedly Markely Streeper's problems trouble began when police detective · told her that they would order a began in mid-January when she Larry Glad, assigned to the depart strip search and have her confined went to the Harrisburg bureau of ment's internal affairs section, in the male section of the jail. -
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED GETTING LIFE IN TWO WORLDS: POWER AND PREVENTION IN THE NEW YORK CITY HOUSE BALL COMMUNITY by EDGAR RIVERA COLÓN A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Anthropology Written under the direction of Professor Louisa Schein And approved by __________________________ __________________________ __________________________ __________________________ New Brunswick, New Jersey May, 2009 ABSTRACT OF THE DISSERTATION Getting Life in Two Worlds: Power and Prevention in the New York City House Ball Community By EDGAR RIVERA COLÓN Dissertation Director: Dr. Louisa Schein This dissertation project is an ethnographic study of the House Ballroom community in New York City. The House Ballroom community is a Black and Latino/a queer and transgender alternative kinship system and dance performance circuit. Specifically, it follows the lives of HIV prevention workers who are deeply embedded in House Ballroom social networks. Based on four years of anthropological fieldwork, I document the way that these community activists fashion meaningful lives in the meeting point between the Ballroom world and the HIV prevention not-for-profit organizations in New York City. It is also an ethnography of the productive failure of the gay and lesbian movement's inability to include working class Black and Latino/a queer communities in developing a political infrastructure to combat HIV/AIDS in New York City. My informants have helped to develop an alternative civil and political infrastructure by combining material and symbolic resources found in the HIV prevention not-for-profit ii organizations and the House Ballroom community.