Queer theory, music and identity theories as well as contemporary discussions relating to queer cultural histories are then applied to case studies of queer-identified music performers from Brisbane, Australia. It also raises questions surrounding the corpus of queer musical practice-that is, do these practices constitute the creation of a new musical genre or a collection of genres that can be understood as queer music? The preceding questions inform an account of the histories, styles, sensibilities, and gender and sexual politics of camp, drag and genderfuck, queer punk and queercore, as well as queer feminist cultures, positioning these within musical praxis. An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. The qualitative data, in particular, allow us to better understand how such music plays a role in constituting and supporting lesbian and gay cultures and communitiesĪcross ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality.

Our findings confirm the popularity of certain types of music among Flemish lesbians and gay men, for whom it constitutes a shared source of identification, as it does across many Western countries. While the sexual orientation of the musician is not very relevant to most participants, they do identify certain kinds of music that are strongly associated with lesbian and/or gay culture, often based on the play with codes of masculinity and femininity. Both the survey and the interviews disclose strongly gender-specific patterns of musical preference, the women preferring rock and alternative genres while the men tend to prefer pop and more commercial genres. To explore this field, we used an online quantitative survey (N= 761) followed up by 60 in-depth interviews, asking questions about musical preferences. The importance of music and music tastes in lesbian and gay cultures is widely documented, but empirical research on individual lesbian and gay musical preferences is rare and even fully absent in Flanders (Belgium). The presentation offers Mathis’s career as an exemplar of queer subjectivity informed by a combination of racial, sexual, and commercial contexts that define sex and gender disclosure beyond the typical verbal rituals associated with “coming out,” and transcending the usual connotations of the sexual closet.

Despite these seeming compromises close critical attention to his musical choices, visual imagery, and press clippings reveals a complex performance of sexual elusiveness that is as available to a queer gaze as the racialized heterosexual gaze implicit to pop music.

The presentation suggests that the non-threatening sexual image Mathis presented in the 1950s was an overt commercial strategy intended to appease white audiences and adhere to an imperative for public respectability, an enduring theme within African-American cultural politics. “Shaking the Closet” argues that the notion of “the closet” is insufficient for understanding Mathis’s career and those of many other seemingly “closeted” queer public figures. Though pop crooner Johnny Mathis inadvertently revealed his homosexuality in a 1982 “off-the-record” interview his sexuality had long been an open secret prior to this disclosure.

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