(The Village Voice called it “early-’00s singles bar music.”) Still, her image had real juice. If writers paid more attention to her iconography than her music, well, that was partly because there wasn’t much music out there yet, and critics seemed to agree what she had released wasn’t interesting. “It’s just that the aesthetic references surrounding her are all already so pungent, evocative, and well worn that it’s hard to reshape them.” “It’s not that there’s anything ‘inauthentic’ about Del Rey,” argued a Pitchfork writer. By the time you’d heard of Del Rey, you’d probably also heard she was a fake, an industry plant who put the “retro” in “retrograde.” Soon, though, there was a backlash to the backlash: Hadn’t plenty of male artists embraced alter egos? Critics noted this but remained unconvinced. That hair! Those lips! Who could forget the press release touting her as a “gangster Nancy Sinatra”? Five minutes’ digging proved her backstory was not very gangster at all: She had a marketing-exec father and a well-to-do upbringing upstate, and had previously released an EP under her real name, Lizzy Grant. 4.5 ‘BOYS ARE EXTRA TIME I DON’T WANT TO GIVE’: DARING TO SAY NO TO INCREASINGLY DOMINANT BOYFRIEND-GIRLFRIEND CULTURES? 4.6 THINKING AGAIN ABOUT WHAT BOYFRIEND-GIRLFRIEND CULTURES MEAN TO PRE-TEENS: BELONGING, FRIENDSHIP, PROTECTION 4.7 ‘I GOT CALLED STRANGE’: WHY CAN’T BOYS AND GIRLS BE FRIENDS? 4.8 PUNISHING SEXUALITIES: SEXUAL COERCION AND HARASSMENT 4.9 ‘SOME GIRLS LIKE OTHER GIRLS AND … YOU MIGHT ENJOY IT’: WHAT ABOUT NON-HETEROSEXUALITIES AND SAME-SEX RELATIONSHIP CULTURES? 5 CHILDREN, SEXUALITY AND MEDIA CULTURES 5.1 INTRODUCTION 5.2 KEY THEMES 5.3 ‘I JUST BLOCK IT IF IT GETS NASTY OR DISGUSTING’: CHILDREN AS CRITICAL AND SELECTIVE CONSUMERS OF SEXUALITY EXPLICIT MEDIA 5.4 ‘I WANT TO, BUT I DON’T WANT TO’: GENDERED PATTERNS OF REGULATION AND CONSUMPTION OF SEXUAL CONTENT 5.5 ‘WE SHOULDN’T HAVE TO FACE IT’: COPING WITH UNWANTED SEXUALLY EXPLICIT IMAGES, TEXT AND TALK 5.Her mid-century femininity hit a nerve. RESEARCHING CHILDREN’S GENDER AND SEXUAL CULTURES 2.1 INTRODUCTION 2.2 THE PROBLEM OF ‘SEXUALISATION’ 2.3 RESEARCH ON CHILDREN’S OWN GENDER AND SEXUAL CULTURES 2.4 SEXUALITY AND SEXUAL CULTURES: SOME WORKING DEFINITIONS 2.5 RESEARCH AIMS 2.6 RESEARCH QUESTIONS 2.7 TOWARDS A PARTICIPATORY METHODOLOGY 2.8 SAMPLE 2.9 ACCESS 2.10 ANALYSING CHILDREN’S ‘TALK’ 3 CHILDREN, SEXUALITY AND BODY CULTURES 3.1 INTRODUCTION 3.2 KEY THEMES 3.3 ‘GIRLS CARE ABOUT HOW THEY LOOK, BOYS DON’T HAVE TO’: (HETERO)SEXUALISING THE GENDERED BODY 3.4 ‘BE YOURSELF’ AND ‘BE LIKE EVERYONE ELSE’: MANAGING CONTRADICTORY GENDER MESSAGES 3.5 THE (HETERO)SEXUALISING OF GENDERED BODIES IN PLACE AND SPACE 3.6 WHAT DOES DOING AND BEING (HETERO)‘SEXY’ MEAN FOR PRE-TEEN GIRLS AND BOYS? 3.7 DOING AND BEING ‘SEXY’: CONTEXUALISING SEXUAL RISKS FOR GIRLS 3.8 BOYS’ PERCEPTIONS OF SEXUAL HARASSMENT AND ‘SEXY AS RISKY’ 3.9 ‘I WISH I WAS FIVE’/’IT’S SCARY BEING YOUNG’: WHAT PRE-TEEN CHILDREN HAVE TO SAY ABOUT ‘LOOKING OLDER’ 4 CHILDREN, SEXUALITY AND RELATIONSHIP CULTURES 4.1 INTRODUCTION 4.2 KEY THEMES 4.3 ‘MY MUM FORCED ME TO WEAR A DRESS TO THE PROM’: COMPULSORY HETEROSEXUALITY AND HETEROSEXISM AT HOME AND AT SCHOOL 4.4 ‘WE’RE SINGLE PRINGLES, NOT TAKEN BACON’: THE SOCIAL WORLD OF BOYFRIENDS AND GIRLFRIENDS. TABLE OF CONTENTS BACKGROUND AND SCOPE RESEARCH OVERVIEW THE RESEARCH TEAM ACKNOWLEDGEMENTS 1. In this way, trans/affect names the complex of affective responses evoked by transgender embodiment. Ben Singer argues, transgender embodiments evoke the sublime because they “confront us with a vision of potentially infinite specific possibilities for being human” (616). Trans embodiment can be seen as an expression of the sublime, as it reveals the multiplicity and instability at the heart of gender. The sublime identifies those aesthetic practices in excess of the viewer’s cognitive capacity for reason it remains obscure to our conceptual powers. Gaga’s monstrous aesthetics are political because they fit within the category of the sublime. In this chapter, I examine the trans/affect of Lady Gaga’s carefully scripted display of the Jo Calderone persona in both his interview and fashion spread in Vogue Hommes Japan. Taking her critique of the fetishization of the female body into the public sphere, Gaga donned a meat dress in protest of the expectations of female stars by the popular media at the MTV Video Music Awards in 2010 this year, she simply refused to be female altogether. Jonas Åkerlund), does not “have a dick,” Jo Calderone certainly does. If Lady Gaga, as we are told ever so bluntly by the hyper-butch, body-building guards in “Telephone” (2010, Dir.
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