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Power Bottom Ballad: Troye Sivan's #BobsBoutBottoming
Power Bottom Ballad: Troye Sivan's #BobsBoutBottoming
Singer-songwriter, producer, and actor Troye Sivan first made a name for himself in the
Land Down Under with a hugely successful YouTube channel. Sivan’s cherub-next-door
charm, choirboy voice, self-deprecating humor, and sincerity were a winning combination.
His videos racked up millions of hits, and soon Hollywood took notice. Sivan landed a role
in the X-men franchise and soon began writing the songs for his debut EP. TRXYE (2014)
rose to #5 on the Billboard 200, and his acclaimed full-length studio debut Blue
Neighbourhood (2015) confirmed that Sivan was a rising star to watch. In 2018, he released
three singles ahead of his sophomore studio album: MY, MY, MY, THE GOOD SIDE, and the
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title track B
LOOM.
“Bloom” is what I call a “bottom power ballad.” The punny significance of this term is
threefold. First, “bottom” is gay slang for the receptive partner in male-male sexual
encounters (“top” describes the penetrative partner). Men on the “bottom” are often
stereotyped as passive, effeminate, and powerless, maybe even bent on self-shattering.
Second, I’m making a rather obvious pun on the 1980s power ballad, a genre that offers
musicians (most often men who otherwise rock) an opportunity to explore their sensitive,
and some might say feminine, sides. Musically, however, “Bloom” is not a power ballad but a
mid-tempo electronic dance tune. In making a connection between the power ballad and
“Bloom,” I draw less from the musical semiotics of the genre than from a discourse that
surrounds the power ballad, a discourse that Spin music journalist Charles Aaron
characterizes in terms of male vulnerability, humiliation, and shame. Finally, I suspect that
BLOOM/ “Bloom” can complicate or queer the notion of “bottom power,” a Nigerian turn of
phrase used to describe women’s reliance on sex/sexuality to access male power and
privilege. I first learned the phrase from Chimamanda Ngozi Adichie’s TedTalk, WE
SHOULD ALL BE FEMINISTS, and I borrow then playfully misuse it here.
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A note on song, album, and video titles. Throughout, I borrow conventions established in Andrew
Goodwin’s Dancing in the Distraction Factory, using the familiar quotation marks for songs, italics for album
titles, and small caps for music videos. This helps orient readers toward specific media and clarifies ambiguity
when discussing different media forms (song, album, video) that may have the same name. I use the same
convention to distinguish between the text, book, and TedTalk video by Adichie.
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Situating Troye
Journalists trumpeted Sivan’s arrival as the harbinger of a new pop era. As The New York
Times recently announced, he’s “here, he’s queer, get used to it,” effectively turning a Queer
Nation activist slogan from the 1990s into a retro byline for Sivan’s popstar brand.
Comparisons to Freddie Mercury, George Michael, Elton John, and Boy George abound;
however, such analogies often obscure crucial differences surrounding each man’s status as a
gay entertainer. For these older gay men, midcentury homophobia,
Reaganism/Thatcherism, and AIDS created a dissonant buzz deep in the mix of their careers.
Mercury’s rise to fame overlapped with the Gay Liberation era in the US and the UK, but
for a celebrity of his stature, being out was career suicide. Mercury only had to look at
Jobriath, the first out star signed to a major label, to see how quickly the stain of queerness
in a homophobic culture could destroy a career. He struggled to balance his larger-than-life
persona as the front man of one of rock’s most prominent acts with a semblance of normalcy
in his life away from Queen. While Mercury played coy with the press about his sexuality,
he released a statement just hours before his death in 1991 in which he acknowledged that
he was living with AIDS. Notoriously private off-stage, Michael was outed after his 1998
arrest for lewd behavior in a Los Angeles men’s room, though rumors about his sexuality
dogged the singer for most of the preceding decade. He occasionally created music about his
experiences as a gay man. JESUS TO A CHILD (1996) mourns the death of Michael’s partner,
Brazilian designer Anselmo Feleppa (who died of an AIDS-related brain hemorrhage), while
OUTSIDE ( 1998) responds directly to the scandal of his arrest.
A product of the Internet age, Sivan’s coming out was mass-mediated from the start. At
eighteen, he seized control of his digital narrative in a coming out video that spoke to
millions of LGBTQ kids around the globe. His family has been openly supportive, and his
fan base accepted him as a gay man more or less from day one, evidenced by the fact that his
covers of songs by Adele and others, which use male love-object pronouns, have been
viewed millions of times. In many ways, he has more in common with Rufus Wainwright,
whose sexuality has been inscribed on his music, music videos, album art, and both on- and
off-stage persona since his 1998 debut, than with Michael, Mercury, or Elton John. Family
and fan support does not mean that Sivan is immune to homophobia; nor do I mean to
equate some mythical, authentic queerness with adversity in a simplistic way. Nevertheless,
it is important to point out some key differences in Sivan’s status as an openly-gay public
figure and those who made such openness possible. Whereas journalists gloss over or ignore
this history, Sivan himself has done his homework and acknowledges the importance of
previous generations of LGBTQ activism in his music video, HEAVEN.
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That Sivan’s work speaks directly to gay audiences, especially adolescents, is critically
important given that LGBTQ youth often turn to media and popular culture, film, and
books for guidance—a process that anthropologist Kath Weston calls “tracking the gay
imaginary” (255-62). Queer visibility is key to reducing elevated rates of depression,
anxiety, self-harming behaviors, and suicidal ideation among LGBTQ youth, who also
represent the largest number of homeless people under the age of twenty-one. Sivan is
helping move the needle. For instance, the BLUE NEIGHBOURHOOD trilogy follows a fictional
romance between two young men, portrayed by Sivan and model Matthew Eriksson. As of
this writing, it has more than 6.8 million views on Sivan’s YouTube channel alone—a
remarkable achievement for a young gay artist.
Growing Up Troye
Sivan’s growth from adorable child star to LGBT icon is documented in his social media
accounts. In 2007, at age twelve, he began posting videos, mostly covers of songs by others
which Sivan sang in his living room. In 2012, he added a vlog and began to connect with
other YouTube stars. Sivan was beloved for his wide-eyed innocence, prodigious musical
ability, and fearlessness in speaking knowledgably about a variety of personal and political
topics. As he matured into late adolescence, his image evolved into that of an erudite,
self-deprecating young man who still had an undeniable cherubic charm. Blue
Neighbourhood positions Sivan as a kind of uber-millennial: stylish, somewhat world-weary,
yet still possessing a schoolboy innocence. An Australian Rolling Stone review remarked that
Sivan “delivers these quiet gems of young wisdom with enough humility to sound
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endearing.” However, Sivan was not destined to remain a starry-eyed teen idol forever.
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Jules LeFevre, “Troye Sivan—Blue Neighbourhood,” Rolling Stone Australia 4 December 2015. At present, the
magazine’s website is offline as publication, including digital archives, has ceased.
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Blue Neighbourhood, 2 015
For decades, artsy pop stars have tapped into the potential of an unstable or evolving star
text. David Bowie, Freddie Mercury, Elton John, Cher, Madonna, Annie Lennox, and Lady
Gaga are all stars for whom reinvention is, or was, a way of life. Notably, many in this list
either self-identify as LGBTQ themselves or have devoted queer followings. Following
these queer footsteps, Sivan is revamping his image. From Blue Neighbourhood to Bloom,
there’s been a noticeable shift in the iconography of his music videos, photography, live
performances, and social media. He made headlines for his appearance at the 2018 Met Gala
in New York where he paired androgynous makeup with a sanguine tuxedo and mesh shirt,
and the June 2018 issue of Attitude christens him a “boy wonder” with a “grimy, sexy new
sound.”
Sivan, 2018
Sivan’s sexy new androgyne image draws inspiration from the work of Melbourne-based 3D
artist Jason Ebeyer, who created the BLOOM lyric video. By blending elements of online
subcultures, erotica, and technology, Ebeyer’s digital art explores the worlds of light and
color as well as darkness and shadow in trippy, shimmering tableaux that blur the boundary
between reality and the hallucinogenic world of dreams.
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“ Earthly Erotica” (2017) “ Fortune Queen” (2018) “Bloom” (2018)
Liquid surfaces, traditionally beautiful physiques, and overt sexual content signal Sivan’s
emergence as a “mature” pop star. Similar techniques have been used by many celebrities,
but it is especially common for women in entertainment industries to break with their
“innocent” pasts and emerge fully sexual(ized) in order to remain in the game. Britney
Spears famously transformed from seductive schoolgirl to outright vixen, and Christina
Aguilera shocked with her shift from teen pop princess to “Dirty” superstar. Such changes
can be empowering for celebrities who wish to move on from their status as child stars to
adult entertainers, but feminist critics also argue that this can be a trap. According to media
scholar Sut Jhally, women in pop culture face two choices: hypersexualization or
obsolescence. Male pop stars have also transitioned from teen idols to music men in this
way—though often without the nasty consequences that adhere to women. George Michael,
for instance, used macho biker iconography (coded as uber-masculine in straight culture and
hypersexual in gay culture) to break with his Day-Glo Wham! past and became a legend.
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Wham, c.1984 Michael, c. 1987
Attention to his physical appearance dominates discourse about Sivan. In photos, his body is
frequently posed in reclined, open positions that feminist media scholars like Jean Kilbourne
identify as the stuff of misogyny: bodies shot from above, posed on beds or on the floor, legs
spread, inviting the gaze of men, in child-like poses, often infantilized, subjected to
dehumanizing violence, and at the same time hypersexualized and always available for sex.
Similar images and body positions dominate gay male erotica and pornography, especially in
depictions of youthful and inexperienced men (so-called twinks). Journalists frequently
remark on Sivan’s “prettiness” and fawn over his flawless, alabaster complexion, which,
according to Dazed, “is enough to make you swoon.” Wonderland magazine makes cherubic
connections in this video from a 2018 photoshoot. When directed at women, such
comments raise the ire of feminist fans and critics who believe that women should be judged
by their work and character, not their appearance. Not so for LGBTQ celebrities. While
queer activists also promote self-love and discourage body shaming, it’s also routine for
journalists and public figures themselves to discuss the importance of beauty, fierceness, and
flawlessness as part of twenty-first century queer visibility. This reveals a tension between
feminist and queer discourse—and one that this essay will certainly not resolve. That Troye
is a cis-male and gay means that he can, in a sense, have his cake and eat it, too. He’s taken
seriously in the pop world as a musical force a nd his “prettiness” serves as an asset.
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American Apparel ads that mimic amateur pornography, naughty Polaroids, and possibly even the aesthetic of
child pornography
Sivan in W
onderland a nd Dazed, (bottom, 2018). Sivan’s boyish looks are used to similar effect in these images.
BLOOM promo
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YOUTH s creenshot
By contrast, the teaser’s grainy footage and sweat-kissed bodies suggest sleazy pornography
and obliquely references the use of similar effects in the intro sequence of George Michael’s
OUTSIDE in which a sexy, “high-heeled saxophone” (5) plays as a man and woman exchange
glances and suggestive gestures with one another against a backdrop of blue-green and pink
lights. The clip turns out to be a joke; the buxom blonde changes, deus-ex-toilette, into a
sternly unsexy policewoman making an arrest. The visual and musical rhymes between the
two clips allow me to read BLOOM simultaneously as a kind of queer double-voiced
utterance, a song of gay i nnocence and gay e xperience.
Online speculation about the song’s meaning began immediately, especially around the
question of anal sex. Pitchfork described “Boom” as “quite possibly an anthem dedicated to
first-time bottoms” and praised the song as “one of the few mainstream pop songs to
imagine queer sex as not just a good time, but as something natural, pure, and innocent.”
Junkee’s Jules Lefevre concurred. “Let’s be real,” she writes, “this is a straight up ode to being
on the receiving end of anal sex for the first time.” Sivan himself was coy when asked to
decipher the song. “It’s 100 percent about flowers. That’s all it is,” he told Dazed, adding a
playful wink. Contrary to his cheeky denials, Sivan briefly tweeted, then deleted, the
hashtag #bopsboutbottoming. Of course, the eagle-eyes of Cyberland saved the receipts.
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Tweeted, then deleted
Foucault, Butler, and generations of feminist and queer scholars have demonstrated in
well-rehearsed arguments the intimate linkage of sex and power. In white-supremacist,
phallocentric, and binary-gender culture, white heterocis men possess the most symbolic,
economic, political, institutional, and interpersonal power. They are trained by culture to be
top dog, to fight their way to the top, to come out on top, and to stay there. Women can
access this kind of power, but as bell hooks points out, its operation remains fundamentally
patriarchal. In other words, women with this kind of male power may mistake for liberation
what is really just the cross-dressed status quo. Adichie argues that bottom power is illusory
because women, lacking their own agency, have only “a good route to tap [a man’s]
power.” What happens, she wonders, when he “is in a bad mood, sick, or temporarily
impotent?” The implication is that the absence of a sexually-available male from whom she
can syphon off some power reduces a woman to powerlessness. While I have critiques of
Adichie’s formulation, they are tangential to the mainline of this discussion. Instead, I will
ask what happens in male-male sexual culture, where the dynamics of gender-power play
out somewhat differently; is there gay-male bottom power; and what happens when the
love that dare not speak its name comes out as on bottom on top of mainstream pop?
All gay men risk accusations of being a bottom/effete/powerless, or worse, of enjoying it.
That is, they risk being perceived as feminine. This creates quite a bit of anxiety and no
small amount of gender trouble among gay men. Need evidence? Cruise on over to any app
that gay men use to find sex/romance and count the number of times you see words like
masc only, the hashtag #gaybro, or any number of the more subtle ways gay men police their
fragile masculinity. In our culture’s wildest homophobic nightmares, gay cisgender men
relinquish their macho power when, as Leo Bersani memorably described it, they hoist their
“legs high in the air, unable to resist the suicidal ecstasy of being a woman.” (18) Effeminate
queer icon and author of The Naked Civil Servant Quentin Crisp once quipped that in
Western culture, “there is no sin like being a woman.” From the erastes (adult male) of
Classical Antiquity to the total tops of the digital age, “real” men, straight or otherwise, get
(it) on (from the) top. Here’s an old joke that Bersani recounts:
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The butch number swagger[s] into a bar […] opens his
mouth and sounds like a pansy, takes you
home, where the first thing you notice is
the complete works of Jane Austen, gets
you into bed, and—well you know the
rest. (14)
An updated version goes something like this: His profile says “total top,” then he shares his
private pics. There’s even a campy send up by a trio of drag queens called THAT BOY IS A
BOTTOM that makes fun o ut o f this queer cultural conundrum.
Some gay male bottoms have reclaimed their stigmatized identity, breaking the stranglehold
of sexism, misogyny, and (internalized) homophobia that equates being penetrated with
powerlessness by speaking back in a voice that echoes that chants, shouts, and cries of other
marginalized groups who have found strength and intelligibility at the margins. I am
tempted to call this phenomenon “bottom power,” but the boundless creative energies of
queer sexual culture beat me to the punch. Enter, the power bottom. Another term from the
queer lexicon, a power bottom is assertive, unashamed, unapologetic, and (stereo)typically
sexually aggressive. Power bottoms range from the fey and ephebian to the ruggedly
masculine. A more radical form of an always-already denigrated gay-male stereotype, power
bottoms resist the shaming of men who enjoy penetration by daring any potential top to try
and keep up. This is a very different use of “bottom power” than that described by Adichie.
In her formulation, women savor some fleeting male power which they gain by using sex
and sexuality. By contrast, the power bottom possesses male power and privilege which he
uses to counter accusations of effeminacy. His sexual voraciousness, stamina, and
assertiveness become much-admired assets, not liabilities or limitations.
Flowers in an Intertextual Garden
Which brings us to Sivan’s power bottom ballad. Much of the online chatter about “Bloom”
misses the rather obvious fact that Sivan’s song utilizes the most humdrum and obvious
imagery. Throughout, the green world serves as a metaphor for sensuality, sexuality, and
love. In the chorus, Sivan sings, “I bloom for you,” likening the singing subject’s sexual
awakening to a flower opening its petals for the first time (there is no indication that this
song is, or is not autobiographical). While Sivan’s choice of imagery may be banal, it’s
planted in fertile soil. This fairly standard muso-poetic language has a longstanding
association with the feminine (Mother Earth), female genitalia (the art of Georgia O’Keefe),
and sexuality more generally (Shakespeare even got in on the game in Sonnet 18). These
works create a complex intertextual web for “Bloom,” one that extends to vernacular and
concert music as well. A few examples, chosen more or less at random, illustrate the use of
flower imagery in different song contexts:
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● Schumann’s setting of Heine’s “Du bist wie eine Blume” uses the image of a flower to
describe the beauty of a beloved, and the composer’s romantic music imbues the
idyllic imagery with an intense yearning that borders on the sexual.
● Delibes’ “Flower Duet” (“Duo des fleurs/ Sous le dôme épais”) from Lakmé is a duet
for two women in which the voices move in sensual parallel motion as they sing of a
“thick dome of jasmine” beneath which “the rose […] blends with the rose” and
drifting downriver together.
● In popular music, Liz Phair’s “Flower” (which was covered by homocore band Pansy
Division) reverses the gender association of flora with the feminine. To a male lover,
Phair/ Pansy Division sing “Your face reminds of a flower/kind of like you’re
underwater/ hair’s too long and in your eyes/ your lips are perfect ‘suck me’ size.”
Jason Ebeyer incorporates flower imagery in BLOOM, which takes place in a greenhouse
filled with exotic plants and illuminated by phallic neon lights whose colors change from
cool greens and blue to hot pink. On one hand, this could exemplify what Andrew
Goodwin would call an amplification of the song’s lyric content—the music video for song
about “blooming” features plant imagery. However, against the intertextual backdrop of
flowers/nature as metaphors for sexuality and Sivan’s new queer/ sexually mature star text,
the song and its video blossom with significance.
Sivan’s greenhouse
Sivan’s lyrics abound with references to flowers, gardens, plants, and water—elements of the
natural world typically associated with femininity and female sexuality. At the same time,
flower imagery has a very specific place in corners of the kink communities—although I
suspect that few homonormatives want to own up to knowing about such things. In
hardcore parlance, a “rosebud” refers to an intentional rectal prolapse achieved through
stretching, the use of larger-than-average sex toys, or fisting (the insertion of a hand into a
bodily orifice—a practice, it must be noted, that many straight people also enjoy). Some
power bottoms occupy a special place in the kink milieu for they are prized for the ability to
achieve a “rosebud.” The polymorphic perversity of queer sexuality rewrites the coordinates
of “normal” bodily pleasure onto parts of the human corpus generally considered
pleasure-neutral or abject. Oral and anal sex are perhaps the two most benign forms, now
more widely accepted in our culture.
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Others include a variety of practices grouped under the BDSM banner but also, as Douglas
Crimp argues, the multitude of pleasures assembled under “safe sex”: the routine use of
condoms and dental dams; mutual masturbation and frottage; non-penetrative role play and
fetishes; pornography; and a seemingly infinite variety of ways to manipulate the body to
produce new intensities and pleasures. Since the 1980s, BDSM has inspired heated debates
about the dynamics of sexual power, most notably in the works of Andrea Dworkin and
Catherine MacKinnon, their radical foil Pat Califa, and Tim Dean. Contrary to stereotype,
hardcore kink communities emphasize consent and safety through practices like Safe Sane
Consensual (SSC) and Risk-Aware Consensual Kink (RACK). These terms refer to kink
subcommunities who prioritize consent as part of a hardcore ethic while also encouraging
participants to make informed, safer-sex choices and mitigate risks according to each
individual’s level of comfort. While innocent ears may hear Sivan’s pleading to “take it slow”
and “hold my hand before it goes down” as the platitudes of a virgin on the cusp of sexual
experience, experienced queer ears hear those same lyrics as descriptions of a very specific,
subversive sexual practice.
Imagined Intimacy
Although he acknowledges that “Bloom” is about anal sex, Sivan dismisses any naughtier
implications or interpretations of the song as nothing more than a dirty “little inside joke”
about which he and his producers had good laugh. Singing as the blushing virgin who saved
himself for his one-and-only, Sivan envisions a homo-happily-ever-after in which those
who do not fit society’s prevailing standards of beauty, body image, wealth, whiteness,
cisgender-ness, monogamy, and matrimony simply do not appear. Typically, I hesitate to
equate an artist’s private life with their public works. More often than not, such a project
devolves into little more than a quest for biographical trivia and ignores the complex
dynamics involved in the construction of a star text through performance, multiple media
forms, and songwriting. However, the discourse surrounding Sivan is dominated by notions
of authenticity and sincerity. As a YouTuber, he found fame by speaking directly to fans,
often in a darkened bedroom illuminated by the white light of his computer screen. This is a
staging choice to be sure but one that over-emphasizes the personal or confessional
face-to-face intimacy between best friends or lovers. Sivan literally grew up before our eyes
and gave us weekly videos through which he documented his transition from precocious
child to international star, and much of his fan base grew up alongside him. His music
videos and promotional materials re-emphasize his face in close-up, an effect we might call
imagined intimacy because it reinforces the convenient fallacy that Sivan looks, speaks, and
sings directly to individual listeners in the imagined community of his fans. BLOOM
visualizes this trope by putting Sivan’s body and face on display in ways that mimic a
moment of hyper-intimacy: the loss of virginity or the first sexual encounter between lovers.
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Goodwin asserts that “one way into the topic [of dance in music video] is through its
attempt to visualize [the] music” (68), and he notes several ways in which dance, music, and
lyrics function to create the idiomatic media language of music video. For instance, many
music videos over-emphasize the gestures of a lead guitarist shredding a solo or maybe just
playing air guitar instead of using their actual instrument. In other contexts, dance can
render the lyric content or the story of a video. In a number of iconic videos from the 80s,
the awesome power of a shimmy, directed at a video villain from a chevron of dancers is
enough to reduce him to powerlessness (see Pat Benetar’s LOVE IS A BATTLEFIELD for the
classic example, though Michael and Janet Jackson have used similar choreography in several
of their videos). In MY, MY, MY Sivan uses his own signature amateur dance moves to
conjure the image of millions of young gay boys lip synching and dancing to the music of
their favorite divas behind securely locked bedroom doors around the globe. Choreographed
movement and camera work in BLOOM reinforces the lyric narrative of sexual experience in
a number of ways while also fostering a sense of extreme intimacy. Ebeyer creates a digital
avatar of Sivan, complete with trademark blond hipster cut and skinny jeans, but this avatar
glows with the iridescence and luminescence reserved for saints and angels and certain
sexual sinners. The avatar’s position and body language convey passivity and resemble the
movements of gay sex: flat on his back, legs rising into the air (an echo of Bersani’s
rendering of the cultural nightmare); head thrown back ecstatically, shot from above as if
from the perspective of a lover. The camera lingers on the avatar’s feet, hands, hips, and
face—all parts of the body associated with either sensuality or vulnerability. Sivan
accentuates this vulnerability by placing the word “bloom” on a high pitch, which he could
comfortably belt, but instead he sings it with a breathy softness evocative of the way lovers
might speak during their first sexual experience together.
Tumescence
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Sivan’s doe-like eyes are frequently mentioned as part of his cherubic appeal, and BLOOM is
also preoccupied with eyes, gazing, and looking. The avatar features exaggerated versions of
his trademark oculus, and each time Sivan sings “I bloom just for you,” its eyes open,
perhaps a stand in for the opening of bodily orifices during sex. This association is made
explicit in two pivotal moments. The video begins with a wash cool green and blue hues,
but at 1:52, the color changes to red and pink as the avatar flings open his arms and legs,
opens his eyes. Then, his neck extends and his head grows visibly larger—cranial tumescence
here a rather cheeky way of representing an erection. Spring—a well-worn metaphor for sex
and sensuality—has arrived, and Sivan’s avatar glows with all the warmth that metaphor
implies. An extreme close-up of the avatar’s left eye at 2:47 allows viewers to see the full
“bloom” of his pupil, a visual analog for the dilated vagina (in sex or childbirth) and the
dilated anus (in gay sex). The cumulative effect of imagery, color, and choreography is a
kind of plasticine vulnerability of the male body.
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Recently, Sivan and Jacob Bixenman settled into just this sort of non-threatening same-sex
domesticity, and Sivan openly praises his parents for their acceptance and respect for his
gayness. Although this is one laudable vision for the gay future, it is also part of a broader
trend toward what Lisa Duggan has called homonormativity—the very antithesis of
queerness. LGBTs who most closely resemble the heteronorm can purchase (often, literally)
their safety and acceptance by distancing themselves from the very “deviants” whose radical
lifestyles and sexual practices, ironically, fueled the engines of Gay Liberation that made such
assimilation possible in the first place. Assimilationist gays frequently ignore or denounce
radical sexual cultures, non-monogamy, unsafe sex, genderfuckery, and a variety of other
subcultural practices that seem shameful when viewed through normative-colored glasses.
While Sivan paints a lovely portrait of normative gay male sexuality in bloom, there are
more exotic flowers in the garden that deserve their moment in the sun.
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