Examines the crisis of masculinity as a crisis of looking and looked-at-ness, a punctuation of manly images in film, rock and roll, pornography, advertising, and sports. Explores the search for and the selling of manly seeming, in terms of the masochism of bodybuilding, homoeroticism and narcissism in advertising, war movies, The Crying Game, Tom Cruise, Robert Bly, Clint Eastwood, and other mirrors. Annotation copyright by Book News, Inc., Portland, OR
In Male Impersonators, Mark Simpson explores the range of male life and masculinity, posing witty and important questions about bodybuilding, tattoos, pornography, cruising, advertising, and team sports. Simpson looks at how gay men appropriate the skinhead phenomenon and why; how Marky Mark exploits the hustler mystique and what it says to gay and straight men; how the Men's movement is being sought out by men--straight or gay--who feel alienated from a macho culture, and compares the participation and reactions of men to various "manly pursuits." Throughout, Male Impersonators examines the roles of homoeroticism and narcissism in the male world, and the performativity of masculinity itself.
Winner of the National Book Award A New York Times Bestseller "The queer romance we’ve been waiting for.”—Ms. Magazine Seventeen-year-old Lily Hu can't remember exactly when the feeling took root—that desire to look, to move closer, to touch. Whenever it started growing, it definitely bloomed the moment she and Kathleen Miller walked under the flashing neon sign of a lesbian bar called the Telegraph Club. Suddenly everything seemed possible. But America in 1954 is not a safe place for two girls to fall in love, especially not in Chinatown. Red-Scare paranoia threatens everyone, including Chinese Americans like Lily. With deportation looming over her father—despite his hard-won citizenship—Lily and Kath risk everything to let their love see the light of day. (Cover image may vary.)
In any society, the perception of femininity and masculinity is not necessarily dependent on female or male genitalia. Cross dressing, gender impersonation, and long-term masquerades of the opposite sex are commonplace throughout history. In contemporary American culture, the behavior occurs most often among male heterosexuals and homosexuals, sometimes for erotic pleasure, sometimes not. In the past, however, cross dressing was for the most part practiced more often by women than men. Although males often burlesqued women and gave comic impersonations of them, they rarely attempted a change of public gender until the twentieth century. This phenomenon, according to Vern L. Bullough and Bonnie Bullough, has implications for any understanding of the changing relationships between the sexes in the twentieth century. In most Western societies, being a man and demonstrating masculinity is more highly prized than being a woman and displaying femininity. Some non-Western societies, however, are more tolerant and even encourage men to behave like women and women to act like men. Cross Dressing, Sex, and Gender not only surveys cross dressing and gender impersonation throughout history and in a variety of cultures but also examines the medical, biological, psychological, and sociological findings that have been presented in the modern scientific literature. This volume offers the results of the authors' research into contemporary gender issues and the search for explanations. After examining the various current theories regarding cross dressing and gender impersonation, the Bulloughs offer their own theory. This book, widely deemed a classic in its field, is the culmination of thirty years of research by the Bulloughs into gender impersonation and cross dressing. Their groundbreaking findings will be of interest to anyone involved in the debate over nature versus nurture, and have implications not only for scholars in the various social sciences and sex and gender studies, but for educators, nurses, physicians, feminists, gays, lesbians, and general readers. This work will be of more personal interest to anyone who identifies as a transvestite or transsexual or who has been classified by medical and psychiatric professionals as suffering from gender dysphoria. Cross Dressing, Sex, and Gender covers a wide range of cultures and periods. As the first comprehensive attempt to examine the phenomenon of cross dressing, it will be of interest to students and scholars of social history, sociology, nursing, and women's studies.
Through the hidden or lost Stories of composers, scholars, patrons, performers, audiences, repertoire, venues, and specific works, this volume explores points of intersection between music and queerness in Europe and the United States from 1870 to 1950 - a period during which dramatic changes in musical expression and in the expression of individual sexual identity played similar roles in washing away the certainties of the past."--BOOK JACKET.
While drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.
Female-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.
Queering the Popular Pitch is a new collection of 19 essays that situate queering within the discourse of sex and sexuality in relation to popular music. This investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts -performance, cultural production and sexual meaning - situating music within the broader patterns of culture that it both mirrors and actively reproduces. The collection is divided into four parts: queering borders queer spaces hidden histories queer thoughts, mixed media. Queering the Popular Pitch will appeal to students of popular music, Gay and Lesbian studies. With case studies and essays by leading popular music scholars it provides insightful discourse in a growing field of musicological research.
Revised and update completely to include new research and theories, this second edition of a hugely successful book brings together a range of articles, from big names in the field, classic texts and new thinking on subcultures and their definitions.
For two years Ester Newton did field research in the world of drag queens—homosexual men who make a living impersonating women. Newton spent time in the noisy bars, the chaotic dressing rooms, and the cheap apartments and hotels that make up the lives of drag queens, interviewing informants whose trust she had earned and compiling a lively, first-hand ethnographic account of the culture of female impersonators. Mother Camp explores the distinctions that drag queens make among themselves as performers, the various kinds of night clubs and acts they depend on for a living, and the social organization of their work. A major part of the book deals with the symbolic geography of male and female styles, as enacted in the homosexual concept of "drag" (sex role transformation) and "camp," an important humor system cultivated by the drag queens themselves. "Newton's fascinating book shows how study of the extraordinary can brilliantly illuminate the ordinary—that social-sexual division of personality, appearance, and activity we usually take for granted."—Jonathan Katz, author of Gay American History "A trenchant statement of the social force and arbitrary nature of gender roles."—Martin S. Weinberg, Contemporary Sociology
