174 CCuarren 6: Wom. Gres and Sistas Haircuts, the suburb (where you hing out] ie: New Farm versus West Ea the ‘Adidas shor, the sporting dykes, 've been a part of tht (the mainstream] com ‘broader political artic ‘culine’ sounds of funk and reggee. Charrer7 ‘MAKING A SCENE — Locality, Stylistic Distinction and Utopian Imaginations ‘The gay community want to have fun, we want w be taken somewhere and feel a ood energy and music i a big pat ofthat .. £0 what would we be iit waso' foe the music? I would’t be anyone if it wasn't for the music, (DJ Nel, personal communication, 8 March 2006) Jn the above quote, taken from an interview with deejay and producer DI Neroli, who began and developed her career on the Brisbane scene,’ his night out. He says: ‘Music hasbeen the binder of the queer community over the years, because the (queer scene has been just that, a dance scene, « muti scene. When people ge O- ether and go out for & night i's music that they go 10. You hear them say oh the _mue’s crap, or Thad a good tine but I coulda dance to anything I had a good 1 At the time of writing, Neroli was residing in London and beld a residency at Heaven (one of London's most conic gay superclbe)SuseeseeSeCeeeeeeeees oa SccuseeRssUscRseeseseseeyl ne Corrs 7: Moting a Scene (Crarren?: Making 0 Scene 7 were playing | ‘shit music, Music binds social outings especially for aon eri roan tx mse na baresing ine coe wher 900 cu ‘on the politics of sexual identification (or on disidetifcation with dis. ‘escape from the rest of the world. (personal communication, 12 December 2005) crete identity categories) and stylistic excess. Through messy and pro- cretely style-based. Rather, T suggest that their scenic connections hinge Peter refers to as the queer community. In other words, music is not sim- ply an addendum to pre-existing activities, but a crucial aspect of the ‘queer worlds constructed locally. . : 'AS Peter suggested, music and dancing ~ as well as accompanying u s Which music and style are employed as markers of both (dis)ident- ification and distinction in relation to specific scene sites and collectives. Finally, I tum to Berlin's gay/queer scene, exploring issues of trans- locality and the ways in which music, style and place function as & resource for ‘utopian imaginations’ (DeNora, 2000) of queer worlds. Mapping the Local Scene(s) wae, ich they circulate and are experienced. To date, litle has : 1b organisers and scene partici- ‘writen about Brisbane's LGBTQ scenes, especially in terms of from these people, but also from local cla ‘music and styl.’ Therefore, I also write this chapter in the spirit of creat- ‘garding , F 2 Chive Moore's Sunshine and Rainbows: The tof Gay and Lesbian tions. Development of Gay Wile gun sone fen cs ly lal ila ucestand 2001 of a hii accon of Bra’ ad - they cannot be considered discretely local calle His book offers « particularly uefa account of lesbian and gay social stylistic preferences, ‘scenes from the late 1800s to the late 1900s. However, Moore never discusses the