Birdy Saenger is a lesbian
Queer pop: Full of gay music or what?
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Our ears are actually still naive. You have to know that the cover princess Birdy is hardly of legal age and the popqueen Madonna is over 50. You can hardly hear it. Whether an artist comes from Kenya or Kassel, plays the piano or samples, has good manners or bad teeth - all of this must be conveyed beyond the pure sound experience. Otherwise it's just music.
As a result, the six South American Kumbia Queers in many ears only sound like carnival and the Norwegian Hungry Hearts sound like dull Eurodance, while Sookee from Berlin sounds like loaded street hip-hop or Princess Hans like a juggler in the capital's variety theater. But then you dig deeper, look for pictures, links and videos or better: listen to the sampler tender to all gender - the hungry hearts and Euro dance groups, rappers and heirs to the throne get a face. Shape. Importance. The album doesn't just compile the sound of a scene, it gathers the people behind it. They are all queer. Somehow.
Which brings us to the problem. Because queer is the buzzword of alternative love and body designs in the cosmos of physical self-definition. Queer has expanded deviations from the heterosexual mainstream with prefixes from trans- to inter-. Queer is thus a term that creates clarity and at the same time eliminates it.
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What is queer music supposed to be, the existence of which the sampler confirms? Whether songs are queer ultimately depends on the sound or on those who deliver it, sometimes both, sometimes neither, or alternatively: on the place of residence, parents, workplace, regular bar and something as banal as taste. So queer music is everything, much, nothing. Depending on your perspective, intention, attitude, mood and mood.
In order to bring some order into the chaos, there are three differentiation criteria: Queer music comes from people who deviate from the heterosexual norm, such as George Michael. She expresses their dreams, demands, problems like Judy Garlands Somewhere over the rainbow and Gloria Gaynors I will survive. Or just like a queer audience. This can be admired May after May at the Eurovision Song Contest, since Abba won it in disco fever in 1974 and two years later the repressive hedonistic mood on the dance floor Dancing Queen set to music - the evergreen of the lesbian and gay party scene. The song is soberly about as gay as Abba himself, so less than, for example, R.E.M., who after all have a gay singer.
Neither one nor the other, neither Michael, Gloria, Abba, let alone R.E.M. but you will at the parties of Hugs and Kisses listen, the queer feminist magazine that curated the sampler. The DJane collective from Hamburg and Berlin plays alternative styles: indie, electronica, things like that. Are those done by queer feminists - good. If not - it doesn't matter! Microcosmically correct is what pleases. In the party scene, too, the boundaries between straight and gay are breaking thanks to increasing equality, the scenes are becoming more permeable.
There was no question of this when the mother of five Diana Ross sang in 1982, which only a few dared to do at the time: I'm coming out. That is why their biotope, the disco, formed the sounding board at that time Consciousness homophile ways of life. For as serious, painful, and sometimes fatal as emancipation away from the dance floor was, collective hedonism offered a place of refuge, classroom and fun outlet at the same time. Under the stroboscope, it seemed, everyone celebrated the same, entertained by artists who were increasingly playing their gender roles aggressively. From the robust village people to the feminine Boy George, from Frankie Goes to Hollywood's hard rock gesture to the muscular fun fair pop à la Right Said Fred, sexual orientation under light organs only played a leading role in gesture, rarely in content, but at least it was now also in the charts of gay projection surfaces.
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