- (To) Queer: “A” Life to Music
- Endangered Tenderness: Schubert, Chopin, and Schumann
- Toward a Trans* Method in Musicology
- The Queer Pleasures of Musicals
- Whose Refuge, This House?: The Estrangement of Queers of Color in Electronic Dance Music
- The Gospel According to the Gays: Queering the Roots of Gospel Music
- Queer Hip Hop: A Brief Historiography
- Queer as Trad: LGBTQ Performers and Irish Traditional Music in the United States
- Kunqu Cross-dressing as Artistic and/or Queer Performance
- Operatic Adaptations and the Representation of Non-normative Sexualities
- Karaoke, Queer Theory, Queer Performance: Dedicated to José Esteban Muñoz
- Queer Audiovisual Creativity: Fan-Created Music Videos from Star Trek to Bad Girls
- Transgender Passing Guides and the Vocal Performance of Gender and Sexuality
- Sound Desires: Auralism, the Sexual Fetishization of Music
- Transcripts: Toward A Queer Phenomenology of the Field Recording
- Music in the Margins: Queerness in the Clerical Imagination, 1200–1500
- The Queer History of the Castrato
- Queering Middle Class Gender in Nineteenth-Century US Theater
- Non-ordinary Gender and Sexuality in Indonesian Performance
- From Queer Musicology to Indecent Theology: Liberal and Liberationist Protestant Theology and Musical Queerings of the Bible
- Anglophone Songs about HIV/AIDS
- Out in the Undercurrents: Queer Politics in Hong Kong Popular Music
- How to Do Things with Theory: Cultural “Transcription,” “Queerness,” and Ukrainian Pop
- Gay Country, TransAmericana, and Queer Sincerity
- Queer Patriotism in the Eurovision Song Contest
Abstract and Keywords
This chapter explores the relatively long history of the queer presence inside of hip hop cultural production. Starting in the late 1970s and ending in the current moment, this historiography argues that queer and/or lesbian, gay, bisexual, and transgender (LGBT) artists in hip hop music have chartered and navigated perilous landscapes—in the music industry, in hip hop culture, and in the broader US pop terrain. The discussion details the notable queer artists, some known and some forgotten, who have made possible the seeming ease with which queer and queer-friendly artists emerging in the 2000s and afterward have captured audiences in multiple mainstream areas.
Shanté Smalls is Assistant Professor of Black Literature and Culture at St. John’s University in the Department of English. They are a performer and performance studies scholar who works at the intersection of blackness, popular culture, and critical theory. They are currently finishing their first scholarly manuscript, Hip Hop Heresies: Queer Aesthetics in New York City which won the 2016 CLAGS Fellowship Award for Best First Book Project in LGBTQ Studies. Their writing has appeared or is forthcoming in The Black Scholar, GLQ, Criticism, Lateral, Women & Performance, American Behavioral Scientist, Syndicate Literature, and Suspect Thoughts. They are on the Editorial Board of The Journal of Hip Hop Studies and an active Editor of The Black Scholar: Journal of Black Studies and Research.
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