Popular music has been played a vital element in everyday life, including rock, country and pop music which similarly perpetuate gender stereotypes and sexuality in the society. Gender defines the sociological categorization of human being and their characteristics as manly, womanly, or by associated terms (Clayton, Herbert & Middleton, 2011). Gender stereotype refers to the personality characteristics the perceivers believe that it subjects to the activities by the specific groups of people (Eagly & Steffen, 1984). Sexuality means emotions, movements and characteristics including sexual desires, emotional states and conducts (Clayton, Herbert & Middleton, 2011). This essay will discuss how three popular music in which rock, country and pop
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lang appeared to promoting the blurred line of conventional gender and sexual categories by creating their own meanings in country music. The rigid traditional gender meaning reveals in country music presents an outstanding substance for male and female homosexuals to perform queer role playing in country music (Sloop, 2004). According to Butler, the capability of male and female homosexuals to engaging in the signifiers of music challenging the current gender and sexual stereotype in the same way with the familiar public perception of queer and gays and lesbians, particularly in country music in which has been had the strict standardizing limitations of gender traditional view in country music (Sloop, 2004). For instance, considering the variability ways k.d. lang used to express herself playing with gender presentation and the character lang showed with her music (Sloop, 2004). Besides, given her various clothing brought distinctive ideas were incompatible with her performance, especially might be understood as against or confront with the dominant heterosexual culture of country music (Sloop, 2004). As a result, the queer idea was performatively established by the subjective expressions of fans more than its direct massage said to the audiences (Sloop. 2004). Both gender categorization and sexuality were confused when sexuality of lang was yet maintained a conjecture within the public, and also disputes were incurred by …show more content…
As claimed by Robertson, despite ‘camp’ is the source within predominantly subculture of male homosexual, however, it is not only an approach accessible to homosexual men, females were further simply serve as the object of this term (Horn, 2012). Camp could also reform as a political device and put it within the structure of feminism to criticize the conventional gender role imposed on women (Horn, 2012). Since camp implies that the power of women might dramatically be weakened when camp is constituted by double meanings of female rather than a cross gender term, the power of femininity could be symbolically undermined (Horn, 2012). As can be seen, camp is made not only implicitly for the contempt of gay men who with most feminine attributes, but also devaluing the power of women in the society in advance. Lady Gaga would be one of an appropriate example in pop music that is successful to get rid of the contemporary gender stereotype (Horn, 2012). She has been not only wore her excessive make up on within almost every performances, but also the stage plans and the dance composition presented as her own personalized characteristics, in order to make a comparison between the electro-dance numerals with considerable piano intervals within several of her musical production (Horn, 2012). Furthermore, she
lang appeared to promoting the blurred line of conventional gender and sexual categories by creating their own meanings in country music. The rigid traditional gender meaning reveals in country music presents an outstanding substance for male and female homosexuals to perform queer role playing in country music (Sloop, 2004). According to Butler, the capability of male and female homosexuals to engaging in the signifiers of music challenging the current gender and sexual stereotype in the same way with the familiar public perception of queer and gays and lesbians, particularly in country music in which has been had the strict standardizing limitations of gender traditional view in country music (Sloop, 2004). For instance, considering the variability ways k.d. lang used to express herself playing with gender presentation and the character lang showed with her music (Sloop, 2004). Besides, given her various clothing brought distinctive ideas were incompatible with her performance, especially might be understood as against or confront with the dominant heterosexual culture of country music (Sloop, 2004). As a result, the queer idea was performatively established by the subjective expressions of fans more than its direct massage said to the audiences (Sloop. 2004). Both gender categorization and sexuality were confused when sexuality of lang was yet maintained a conjecture within the public, and also disputes were incurred by …show more content…
As claimed by Robertson, despite ‘camp’ is the source within predominantly subculture of male homosexual, however, it is not only an approach accessible to homosexual men, females were further simply serve as the object of this term (Horn, 2012). Camp could also reform as a political device and put it within the structure of feminism to criticize the conventional gender role imposed on women (Horn, 2012). Since camp implies that the power of women might dramatically be weakened when camp is constituted by double meanings of female rather than a cross gender term, the power of femininity could be symbolically undermined (Horn, 2012). As can be seen, camp is made not only implicitly for the contempt of gay men who with most feminine attributes, but also devaluing the power of women in the society in advance. Lady Gaga would be one of an appropriate example in pop music that is successful to get rid of the contemporary gender stereotype (Horn, 2012). She has been not only wore her excessive make up on within almost every performances, but also the stage plans and the dance composition presented as her own personalized characteristics, in order to make a comparison between the electro-dance numerals with considerable piano intervals within several of her musical production (Horn, 2012). Furthermore, she