2 - Is Queer Representation in Pop Music Helpful or Detrimental For The LGBTQ+ Community

Louis Cahill MIP-603 Research Project
Is queer representation in pop music helpful or detrimental for the
LGBTQ+ community?
Louis Cahill
Student ID: 1394221
Music Industry Practice (Production)
31st July 2018
Word count: 5756 words
1
Declaration of Originality
I, Louis Cahill, declare that this work submitted for assessment is my own,
and is expressed in my own words.
Information derived from the published and unpublished work of others has
been acknowledged at the point of their use.
A full list of references employed has been included using the Harvard
referencing system.
30/07/2018
Date:………………………………
Signed:……………………………
Louis Cahill
Print:………………………………
2
Acknowledgments
Firstly, I would like to acknowledge Dr. Cheryl Lentz for the concise help of her guides throughout
each section of this research project. I would then like to thank my family for their vast support
during this point in my academic career. Lady Gaga and Beyoncé also deserve appreciation for
their influence in both my musicality and this dissertation. I would also like to mention Sade for her
music being a massive help in de-stressing. Without it, I don't know how I could have endured
these long hours of strenuous work. Lastly, and possibly most importantly I would like to thank Tara
Flanagan and my other close friends for teaching me that “tough luck can be what it seems”. Thank
you all for giving your tremendous support when I needed it the most!
3
Abstract
In recent years, the use of queer themes in music has been more popular than ever before.
LGBTQ+ and heterosexual artists alike are both infusing queerness into their music via personas,
lyrics, videos and performance. But is queer representation helpful or detrimental for the LGBTQ+
community?
The research hypothesis drawn was that due to recent shifts in perspectives, uses of queer themes
can be helpful through bringing recognition to the struggles of queer people. To test this, the aim
was to ascertain the beneficialness of these representations by analysing the use of queer themes.
The literature review outlined a wide scope of research topics. The main areas it covered were
Lady Gaga’s feminism and LGBTQ+ icon status; Beyoncé as an activist; divas’ relationship with
gay men; drag’s relationship with music; and queer politics in music. The review of this literature
allowed for the formulation of the previously mentioned final research topic.
The research methods used for investigation were academic reading, surveys, audio-visual
analysis, lyrical analysis and performance analysis. The main findings were that the use of queer
themes are mostly helpful for the LGBTQ+ community due to a display of their struggles as well as
gay anthems bringing a feeling of acceptance to this widely marginalised group of people. It did
however demonstrate some issues such as homophobia in hip-hop and the general
misrepresentation of lesbian and bisexual women.
The project had it’s limitations due to the surveys’ sample sizes being smaller than expected
resulting in possibly less valid or reliable data but the research did give some clear findings. In
conclusion, queer representation is on the rise and although there are still some detrimental uses
of homophobia and misrepresentation, the representation is helpful overall.
4
Table of contents
1. Introduction Page 8
2. Literature Review
2.1. Lady Gaga as a Feminist and LGBTQ+ Icon Pages 9-10
2.2. Beyoncé as an Activist Pages 10-11
2.3. Divas and Gay Men Pages 11-12
2.4. Drag and Crossdressing in Music Pages 13
2.5. Queer Politics in Music Pages 14-15
3. Methodology Pages 16-18
4. Results, Discussion and Analysis Pages 19-26
5. Conclusion and Recommendations Pages 27-28
References Pages 29-34
Appendices
Appendix A: Survey Results 1 Pages 35-39
Appendix B: Survey Results Pages 40-44
Appendix C: Music Video Stills Pages 45-49
5
List of Figures
Figure 1 Pie Chart: What do you consider the most important gay anthem of all time? Page 19
Figure 2 Pie Chart: Who do you consider the most important gay icon of all time? Page 19
Figure 3 Pie Chart: What would you consider the all-time most important music video Page 19
containing LGBTQ+/queer themes?
Figure 4 Pie Chart: Do you think it is fair for heterosexual artists to use queer themes to further Page 19
their own success?
Figure 5 Pie Chart: Do you consider pop music’s queer representation to be helpful or Page 20
detrimental for the LGBTQ+ community?
6
Glossary
Queer:
Although it was originally a derogatory term for the gay community, this is now an umbrella term of
identification for all members of the LGBTQ+ community.
LGBTQ+:
An abbreviation for Lesbian, Bisexual, Transgender, Queer with the ‘+’ symbol to cater for
additional members of the community such as intersex and asexual individuals included in the term
LGBTQIA. This may also be seen written as GLBTQ+.
Bio Queen:
A drag queen who is a biological/cisgender female (as opposed to a male or transgender female).
BDSM:
An abbreviation referring to the sexual practices of bondage, discipline/domination, sadism and
masochism.
BET:
An abbreviation for Black Entertainment Television.
MTV:
An abbreviation for Music Television.
7
Introduction
Throughout history, gender and sexual identity have had a reciprocal relationship with music. From
1920s blues singer Gladys Bentley to recent Eurovision Song Contest winner Conchita Wurst,
gender and sexuality have played unquestionably pivotal roles. LGBTQ+ themes have had and will
continue to have a profound impact upon the aesthetic and lyrical content of popular music. In the
current climate of the entertainment industry, queer culture has shown an increasing presence
through various media forms. From drag queens to gay musicians, more and more LGBTQ+ artists
are surfacing and gaining popularity that may’ve once been unobtainable. Even more so,
heterosexual artists are utilising LGBTQ+ themes and aesthetics through their lyrics, performances
and other visual content. The queer community are also a reliable market for many LGBTQ+
musicians as well as non-queer advocates or icons which makes sense as to why heterosexual
artists may want to capitalise on their experiences in order to further their own success. But is this
representation of queer themes helpful or detrimental for members of the LGBTQ+ community?
The research hypothesis drawn was that due to recent shifts in perspectives, uses of queer themes
can be helpful through bringing recognition to the struggles of queer people. The reason for this
area of study’s significance is the undeniable rise in representation of gender and sexual identity in
the mainstream media recently. In essence, the aim was to ascertain the beneficialness of these
representations by analysing the use of queer themes in lyrical and visual content. The research
objectives were to use surveys and data observation in order to investigate this.
8
Literature Review
In broad terms, music and queer theory are fairly interdisciplinary subjects making it somewhat
difficult to pinpoint the most useful literature. Fortunately there were many available works which
were approached from different academic viewpoints. Until research led to broadening the original
field of reference, the initially intended research topic was Lady Gaga’s musical impact on queer
and feminist politics. The connection between Gaga and the LGBTQ+ community is inextricable
but the subsequent inclusion and study of other noteworthy musicians created opportunities to
expand on and recognise the additional themes associated. Researching all of these areas led to
defining these four main topics which interrelate with one another.
Lady Gaga as a Feminist and LGBTQ+ Icon
Lady Gaga is a modern icon whose work has reached commendable heights of success (e.g. her
album ‘Born This Way’ selling over 1,000,000 units in US first week sales). Being “masterful in her
use of celebrity, fashion, and gender ambiguity to craft and transmit multiple messages about new
matrices of race, class, gender, and sexuality”, she has used her undeniable power to provoke
society’s constructs. (Halberstam, 2012) Gaga has established a strong political stance throughout
her career. “[Her] representations of gender, sexuality and feminist identities are subversive and
transgressive to patriarchal ideology and to traditional expectations about identity.” (Jooma, 2011)
An artistry comprising of considerably palatable manifestations of pressing issues to a mainstream
audience demonstrates an intent to facilitate sociopolitical advancement.
Feminism is an ongoing issue in modern society. It entails the struggle for females to be seen as
equal to males economically, socially and politically. Feminist ideologies are one way that Gaga’s
music disputes ongoing and contemporary hardships. Jooma declares that “she symbolically
emancipates females through the mass media, by rejecting their roles in society such as as
caretakers, wives, mothers and housewives, and rather illustrates that women too can achieve and
9
be successful in male dominated, public sphere capacities.” (Jooma, 2011). She places herself as
a tool in modifying consumers’ predetermined attitudes towards not only women in music, but the
entire female population. Gaga also capitalises upon her stature in an effort to campaign for the
LGBTQ+ community’s rights. Paxton argues that she has “created a place of refuge and resistance
for not only gay men but also all individuals who identify as queer.” (Paxton, 2011) This is
supported by Jennex’s statement that queer people’s “extreme adoration for Gaga is a result of
many aspects of her performance style and how it relates to contemporary representations of
gayness.” (Jennex, 2013) This suggests she feels a duty of care for her LGBTQ+ fans which may
be a reason she is dubbed a gay icon.
She even uses religious language and imagery controversially in attempt to create a loving
atmosphere for these fans. Spatz argues that, as a Catholic woman, “Gaga has chosen to reclaim
and reform her faith in order to support the political leanings that she has.” In the context of this
essay, Spatz addresses this as a reappropriation of the largely homophobic beliefs held by many
American churches. The use of the word “God” in her unapologetically gay anthem ‘Born This Way’
gives weight to this argument. “Gaga solidifies her connection to her gay male fans by drawing on
a familiar narrative of divaness in her life and personalities that has historically connected women
and gay men.” (Spatz, 2012) Lady Gaga is acknowledged as a diva by not only gay men but many
critics and devotees. “Gaga becomes a diva because she transcends being a pop star and
becomes a possible role model and example of how her fans could also thrive despite their own
traumas and limitations.” (Spatz, 2012)
Beyoncé as an Activist
Beyoncé is currently one of the world’s most renowned musicians. Even though her earlier career
was debatably more sculpted in order to be a marketable artist, in recent years she has not shied
away from expressing her concern for social injustices. Feminism is one of her most widely
discussed topics. In reference to the videos for Beyoncé’s ‘If I Were a Boy’ and Katy Perry’s ‘I
Kissed a Girl’ Donnelly states that they both “express an interest in the destabilisation of gender
10
roles and sexuality” (Donnelly, 2017) Beyoncé camouflages protest into her lyrics using subtle
references to talk about political issues such as police brutality in America. In regard to the lyrics of
her song ‘7/11’, Donnelly claims that by saying that “she is standing up, and "flexin',"—as in
standing up for herself, and flexing her muscles—she brings a power to the phrase historically
aligned with surrender, and contextually representative of systemic violence” (Donnelly, 2017)
She has demonstrated a lack of concern when alienating certain markets for the right reasons.
“Beyoncé distances a white audience to call attention to the renewed racial politics of the Black
Lives Matter Movement.”. As recently as June 2018, her and her husband Jay Z released their
collaborative album ‘Everything Is Love’ which also had many references to racism. The fact that
they firstly released this as exclusively to TIDAL (Jay Z’s streaming company) proves that they do
not mind distancing fans if necessary.
Beyonce empowers the modern black woman. “[She] validates and elevates black culture, and
queer and feminist black bodies through a rarely-achieved level of mainstream visibility.” For
example, in her 2016 Super Bowl halftime show she took the opportunity to address everyday
difficulties that African-Americans face such as institutional racism. “Within a black historical
context, the ostensible feminisation, and implied feministisation of the Black Panthers also subverts
the historically masculine face of the movement.” (Donnelly, 2017) Using powerful imagery, she
makes powerful statements to evidence such issues that may be looked over by most musicians.
Divas and Gay Men
Divas have been present in music throughout time. They are strong women, primarily singers, who
deliver a generally dynamic personality and are awarded with a goddess-like esteem. Whilst
discussing divas, Lister states that “the adoration of female singers appears to be something of a
cyclical phenomenon”. (Lister, 2001) Divas hold profound meaning for many homosexual males
across the western world. “The diva’s performance does not just heal gay spectators in times of
11
turmoil, but it promotes action.” (Paxton, 2011) Gay men idolise these strong female figures due to
a seemingly relatable aspect of their personality traits. Gay men and divas find commonalities in
their life events through shared injustices. Paxton explains that “in a world dominated by patriarchy
and heteronormativity, divas and gay men both find themselves fighting against oppressive
regimes” stating that “both find strength in musical performance to help them narrate their lives
against and around canonical narratives.” (Paxton, 2011)
Divas’ music gives homosexual men in particular an optimistic outlook for a better, more accepting
world. Jennex argues that divas’ musical content “encourage[s] them [gay men] to reflect on an
idealized future and can potentially send them to a more pleasurable place” proposing that “these
moments of imagining a desirable ‘elsewhere’ are instances of utopian longing enabled by these
fans’ participation in music.” (Jennex, 2013) Divas’ lyrical and visual content often hold bold
political statements. “Not only are they gender bending during live performances, they are also
beginning to incorporate activist messages in their songs.” (Paxton, 2011)
When contemplating current divas, Beyoncé is a name that quickly comes to mind. With an artistry
constantly addressing social injustices, she places herself as a memorable figure in music’s
relation with feminism. Kumari additionally contends that “like drag performers, these women [Lady
Gaga and Beyoncé] queer tropes of masculinity and femininity, playing with gender and gender
identity.” (Kumari, 2016) These divas also obscure the supposedly binary nature of gender through
their art. Paxton states that “the ‘inner truth’ of gender does not exist and is a fantasy inscribed and
instituted on the surface of bodies and some bodies are policed and punished for not doing gender
correctly.” and implies that “perhaps this is why gay men are so drawn to diva/drag
performance.” (Paxton, 2011)
12
Drag and Crossdressing in Music
Crossdressing is the act of dressing as the other gender. In general terms, drag is the act of using
this as a form of entertainment. From fashion to film, drag is a phenomenon with distinct
correlations in the entire arts industry. Drag has “acquired a variety of meanings, but they converge
in an act of public crossdressing”. (Bolich, 2007) From the ‘Rocky Horror Picture Show’ to
‘Hairspray’ and even Ursula (the villain from Disney’s ‘The Little Mermaid’) being based on
infamous drag queen Divine, the influences are irrefutable. With regard to music, these themes
have been appropriated for multiple purposes. Taylor declares that “music—in the same way as
costume and gesticulation—can enhance the gender-bending affect.” Without music, drag would
not be where it is today and vice versa as “in the long tradition of both gender impersonation and
drag, music has always been a necessary feature.” (Taylor, 2008)
From music videos to live performances, many acts bend gender for various reasons. “Several
artists today provoke us to think deeply about gender performance and its relation to naming
practices, cultural identity, and rhetorical constructs.” (Kumari, 2016) Musicians including Boy
George and David Bowie have injected androgyny into their personas bringing a more watered
down version of cross-dressing to the masses. But this is not only applied to aesthetics and
performance value. Returning to her as an example, Hawkins explains that “toying with gender
norms and sexuality is integral to Gaga’s strategy” arguing that “her tactic is to outplay stereotypes
through drag and bio queening.” (Hawkins, 2016) Not only does she challenge society’s moulds
but she parodies and aims to break them through her own reinterpretations. Gaga goes one step
further than androgyny by actually committing to drag, even if only for one performance and music
video. Hawkins believes “Calderone [Gaga’s drag king persona] radically deterritorialized the
cultural norm of masculinity” which “heightened an awareness of male vulnerability.” (Hawkins,
2016) Similarly Kumari attests that “because she is able to easily and successfully imitate a man,
Gaga shows that one’s gender is not entirely determined at birth.” (Kumari, 2016)
13
Queer Politics in Music
The political effect of music is not just crucial to LGBTQ+ issues but many other areas of social
injustice such as racism. “Music’s association with various social and political movements is not to
be regarded just as window dressing, but rather as integral to those movements” (Street, Hague
and Savigny, 2007) Music has been a prominent mechanism in instilling social change, even to the
extent of politicians being threatened by it’s sheer force. Queer theory is a field of critical theory
which involves the challenging of heteronormative structures in society. “Queer theory is opening
up in the way that feminism did when feminists began treating gender more and more as a primary
category for understanding problems that did not initially look gender-specific.” (Warner, 1993)
Queer politics can be defined as the politics surrounding this area (e.g. LGBTQ rights). This often
comes into play in modern music. Since it’s conception, disco has been associated with queer
people. “With the social dynamics of dance from the 1970s onwards, a queer aesthetic emerged
out of disco.” (Hawkins, 2016) The predominant club setting of this genre has acted as a
welcoming environment for outcast individuals. In reference to George Michael’s song ‘Outside’,
Hawkins suggests that “by turning to disco, a style that has often implied solidarity, his
performance expresses moral outrage against law enforcement tactics that discriminate against
minority groups.” (Hawkins, 2016) This signals disco’s ability to convey certain political views
based only on the aesthetics and history of the genre.
Music acts as a home for individuals who may be rejected due to their identity. It can catalyse the
assembly of certain communities, cultures and subcultures. Spatz points out that “music sonically
remaps a physical location as a gay friendly-area, creating the safe-space necessary for the [gay
pride] parade.” (Spatz, 2012) Certain pieces of music can resonate with the LGBTQ+ community
because of their ability to assist feelings of pride and fellowship. “Perhaps the connection of these
songs to the GLBTQ community also indicates that this community is interested in being
mainstream, or at least those members for whom these songs are meaningful.” (Spatz, 2012)
14
Hawkins emphasises these songs’ functions by expressing that “queer songs speak to an
audience in terms of sincerity and again notions of authenticity.” (Hawkins, 2016)
After reviewing the literature, some gaps in research were evident. Although there was much
information on queerness and it’s effects, there seemed to be no studies into the accuracy and
usefulness of LGBTQ+ representation in music. Feminism was one topic where it seemed there
was already enough conclusive research. Also the only significantly differing points made were by
the same researcher looking from different angles within the same piece of literature which gave a
lack of argumentativeness. There was also a noticeable absence of studies into queer women as
much of the research was based on gay men. This resulted in the focus of this research project
being on the extent of helpfulness or detriment in queer themes and representation. Although
mainly unrelated to the final topic, Lori Burns and Mélisse Lafrance’s book ‘Disruptive Divas’ was
useful in drawing attention to queer musician Me’Shell Ndegéocello which led to planning a further
study into her artistry.
15
Methodology
After reviewing these literary sources, consideration was taken into deciding the most effective
research tools. The methods selected to collect data were surveys, academic reading, audio-visual
analysis, lyrical analysis and performance analysis. A mixed approach of qualitative (videos, open-
ended surveys) and quantitative research (statistical analysis) were helpful in providing a wider
range of results from different perspectives. Both primary sources (e.g. surveys, audio and video
recordings) and secondary sources (books and academic writing) were worthwhile when collating
data to put forward in effort to answer the research questions. An interpretivist paradigm of data
collection, using surveys and analysis of existing material allowed for consideration of people’s
opinions and experiences. This was more effective in reaching the aims of the project as there is
no way to use only statistics to fully measure helpfulness and detriment.
Surveys were important as a large sample size was required in order to gain a better idea of the
general public’s opinion. However, due to the nature of the topic, there were only 9 responses
meaning this was the final amount of participants. Political agendas were also important to
consider when looking at the survey responses. Some of the answers received were discriminatory
as it seemed that 1 participant who gave these answers took part so that they could share their
negative feelings toward the LGBTQ+ community. It also became clear that some participants who
were non-LGBTQ+ found the survey more difficult to answer due to a lack of knowledge and/or
experience in these topics. This could’ve been avoided by limiting this survey to LGBTQ+ people
but not only would this be a less accurate sample of the general public, the survey would’ve had
only four respondents. Furthermore, these responses were necessary in preventing an irrefutable
bias that would be caused if participation was limited to the LGBTQ+ community. The initial survey
conducted had 45 responses which would have been more helpful but a new one had to be made
due to the broadness of the initial research questions.
16
As there was a lack of information in the literature found, it felt appropriate to conduct a study into
10 gay or bisexual females’ opinions on their representation in lyrics from ‘I Kissed A Girl’ by Katy
Perry and ‘Girls’ by Rita Ora, Cardi B, Charli XCX and Bebe Rexha. The open-ended questions
were necessary to gain a wider insight into the opinions of these respondents and establish
similarities and differences between the views of multiple members within the same community.
Academic reading was useful to learn about the different concepts of queerness before studying
their uses in music. The range of sources made it easier to discover the key themes of queerness
both in music and society. Be that as it may, this research method could not have worked alone as
a larger scope of opinions would be needed to build on this knowledge.
Audio-visual analysis and lyrical analysis were two of the most significant research methods
because secondhand research would not have individually achieved an accurate representation of
queer themes. Audio-visual analysis gave a unique insight into aesthetics and themes presented
by musicians. Although less traditionally used as research, this was informative since “unlike many
forms of qualitative data, video can form an archive, a corpus of data that can be subject to a range
of analytic interests and theoretical commitments, providing flexible resources for future research
and collaboration.” (Heath, Hindmarsh and Luff, 2010)
“The lyrics and notes of a song can tell a story of

strength and perseverance.” (Paxton, 2011)
In analysing lyrical content, the researcher set out to identify patterns and trends in representation
of queer themes. The main focus was to pinpoint the extent of helpfulness or detriment upon the
LGBTQ+ community. Performance analysis was also somewhat useful in this project, however this
could not have been the main resource as it lacked pertinence when considering the research aims
therefore making it the least utilised method. Though academic reading is an effective technique, it
was not the most appropriate in answering the proposed research question. Some of the past
17
literature reviewed used participant observation as a form of research but this also would not have
been necessary to answer the question.
During the design and carrying out of surveys, maintaining ethics was vital as to not cause harm or
distress to those involved. Looking over the British Educational Research Association’s guidelines
helped to lower the risk of unethical research. After collection, it was important to not falsify or
distort the data. Bias was another relevant consideration. To prevent this, the avoidance of leading
questions was necessary.
A massive advantage of these research methods was the range of useful opinions received. A
noticeable disadvantage to contemplate was the sample size of each survey. As previously
touched upon, the topic’s specific nature caused it to be more restrictive conceivably resulting in
this lack of respondents. With a larger sample size, the data would be more representative of the
general population and this may cause the researcher to question validity and reliability. However
the second survey being limited to solely gay or bisexual women could increase the dependability
of data as their opinions are the only ones required in order to answer the research question.
18
Results, Discussion and Analysis

After collating the data from the first survey results (shown in Fig.1 What do you consider the most
important gay anthem of all time?
Appendix A), there were some visible patterns. As shown in
Fig.1 and Fig.2, Lady Gaga was considered the most
important gay icon of all time at 33% and her song ‘Born This
Way’ was considered the most important gay anthem of all
time at 56%. It is also worth noting that she came joint

Fig.2 Who do you consider the most
second with Elton John as the most important LGBTQ+ important gay icon of all time?
musician of all time and ‘Born This Way’ was once again the
most common answer for the most popular video containing
queer themes. Although I did not record the age groups of
respondents, it is likely that this is resultant of younger
participants due to the survey being posted on social media
platforms consisting of primarily younger users. In the survey,
it was made clear that not only musicians were to be classed Fig.3 What would you consider the all-
time most important music video
containing LGBTQ+/queer
as gay icons but only two non-musicians (Marsha P. Johnson themes?
and Milo Yiannopoulous) were chosen. This was interesting
as it showed 78% of respondents considering musicians their
most important gay icons. Marsha P. Johnson is a somewhat
anticipated answer due to her activism whereas Milo
Fig.4 Do you think that it is fair for

Yiannopoulous is an unexpected answer because of his heterosexual artists to use queer
themes to further their own
success?
controversial stance against queer people’s rights. Another
point worth mentioning is the extent of unsure or neutral
responses. In Fig.3, a third of answers showed an
uncertainty in regard to the most important music videos
containing queer themes and in Fig.4 twice the amount of
answers were neutral relating to the fairness of heterosexual

19
artists’ use of queer themes. In relation to the hypothesis, the Fig.5 Do you consider pop music’s
queer representation to be helpful
or detrimental for the LGBTQ+
results supported the argument with Fig.5 showing the community?
majority (44%) of responses stating queer representation
helpful with 33% giving a neutral opinion. As mentioned, the
majority of participants were non-LGBTQ+ which made this
result more shocking. This neutrality would make more sense
as it could be harder to draw on experience but upon further
inspection the data shows that 60% of heterosexual
respondents found queer representation helpful with the remaining 40% giving neutral answers.
Even so, this may be because they do not have firsthand experience in the misrepresentation of
this community that they do not consider themselves to be part of.
In the survey on representation of lesbianism and female bisexuality in lyrical content (Appendix
B), the open-ended questions led to some interesting and uninhibited answers. The most effective
way to present the results was to classify words and phrases that were used on multiple occasions.
These were then narrowed down into groups of words or phrases that contained similar emotional
responses.
One word that came up on multiple occasions was “problematic”. This is understandable due to the
alleged appropriation of female same sex relationships and experiences. Many responses
disclosed a concern that these lyrics were fetishising their sexuality. The mainstream audience that
both pop songs cater to are statistically more likely to be heterosexual and may not understand the
problems of lesbian fetishisation in society. One participant went as far as to claim Rita Ora and the
featured artists in ‘Girls’ were just trying to appeal to the LGBTQ+ community through the narrative
of the song. She says they were just “trying to get more hits from the LGBTQ+ community because
they've released a song which isn’t heteronormative”
20
Participants shed light on the issue of mainly heterosexual artists’ use of lesbianism purely for
shock value. Not only does this discredit female same sex relationships and experiences as
attention seeking acts but it also suggests that they should be considered taboo by society. The
reinforcement of stereotypes was also a common topic. Respondents felt that gay and bisexual
women were shown to be greedy or promiscuous when Katy Perry sings “hope my boyfriend don’t
mind it” indicating infidelity. This is a more pressing issue for bisexuals as they are often portrayed
as greedy or unfaithful only because they are not attracted to just one gender. Lyrics such as these
can be harmful by further perpetuating such assumptions.
However, not all of the feedback was negative. Some responses drew on their own experiences to
point out the relatability of some lyrics saying that there was a time when they had to experiment in
order to discover themselves in the early stages of their sexuality. A few answers also mentioned
that without previously knowing the context of the songs, there would not be as much of an issue
with the lyrical content. It may’ve been more useful to pick participators who had no familiarity with
the songs however this would have been extremely difficult due to the popularity of both songs.
From Diana Ross to Cher, numerous gay icons have surfaced throughout pop music’s history.
Lady Gaga is a recording artist, performer and philanthropist, universally known for subversive
costumes and musical content. She is an interesting case because of her LGBTQ+ advocacy and
the fact she is a bisexual Catholic woman. From outright gay anthem ‘Born This Way’ to the subtle
underlying queer themes in songs like ‘Pokerface’, Gaga has used her music to bring LGBTQ+
concepts to the mainstream.
Similarly to Annie Lennox dressing in male drag at the the 1984 Grammy Awards, Gaga used
gender reversal in the music video (shown alongside all music video stills in Appendix C) and 2011
MTV Video Music Awards performance of ‘Yoü and I’. Her drag king persona ‘Joe Calderone’ is a
possibly satirical presentation of traditional masculinity featuring a cigarette smoking, whisky
drinking man. As an artist who has even been hailed a ‘bio queen’ due to her exaggerations of
21
female sexuality, this came as a shock to many. Gaga’s visual content has often relied on queer
aesthetics. In the undeniably homoerotic video for ‘Alejandro’, she makes use of BDSM imagery
with use of harnesses, rubber and leather (both affiliated with the gay community). “Gay men
began to invest leather with a certain erotic power intimately tied to the way it signalled masculinity”
(Hennen, 2008) She also challenged typical conventions of gender by acting as a dominatrix as
well as her simulating penetration of one of her dancers. This is also shown by the clear
juxtaposition of her male dancers wearing tights and heels but being surrounded by ‘masculine
objects’ such as cigarettes and firearms. The video’s “orgiastic spectacle challenges the
eroticization of gender inequality and it’s hierarchal power relations” (Padva, 2014)
Contrastingly, the aforementioned Born This Way’s video shows acceptance and community
throughout the choreography and imagery. At multiple points in the video, her and her dancers are
shown in various embraces. One that sticks out is a regularly repeated symbolism in many music
videos by queer artists and gay icons where the artist/lead singer is elevated by their dancers/
actors caressing them. This reinforces the welcoming message of the song. Other notable uses of
this imagery include Years and Years’ ‘Desire’ and Kylie Minogue’s ‘All The Lovers’. Probably the
most significant example is a scene in Queen’s ‘I Want To Break Free’ where Freddie Mercury and
his dancers are huddled together in a similar fashion. This was a crucial video including gay
themes. In particular, the band members dressing in drag was taboo in 1984 meaning the video
was even banned on MTV in America. This video could have had the potential to pave the way for
queer artists and themes in pop music.
Although it is still a fairly stigmatised topic in society, there has recently been a rise in the LGBTQ+
community’s coverage and recognition. Throughout this century, many successful recording artists
have released songs utilising queer themes. Katy Perry has released multiple songs with differing
perspectives on queerness, with two of which causing controversy. Her 2007 track ‘Ur So Gay’ has
been critiqued for the derogatory use of the word “gay” and a year later ‘I Kissed A Girl’ was
accused of appropriating lesbianism solely for profit with lyrics such as “you're my experimental
22
game” suggesting same sex relations to be a fad. Lastly, her song ’Firework’ has been hailed a gay
pride anthem for it’s feel-good themes and the use of a gay character in it’s video. More recently,
‘Girls’ by Rita Ora, Cardi B, Charli XCX and Bebe Rexha faced criticism in May 2018 for the same
allegedly stereotypical and appropriative behaviours as ‘I Kissed A Girl’.
Although there may be misrepresentations of some branches of the LGBTQ+ community, there
has been an abundance of pride anthems in recent years. This may be correlated with triumphant
events for queer people (e.g. pro-LGBTQ+ legislations such as the gay marriage in the USA being
passed). Popular songs such as Christina’s ‘Beautiful’ and ‘Same Love’ by Macklemore & Ryan
Lewis (featuring Mary Lambert) bring attention to the importance of loving oneself. Lyrics such as
“you are beautiful no matter what they say” and “I can't change, even if I tried, even if I wanted to”
help queer individuals to realise their value.
These positive songs about sexuality can be greatly contrasted by songs such as Bronski Beat’s
1984 hit ‘Smalltown Boy’ and Me'Shell Ndegéocello’s 1996 release ‘Leviticus: F*****’ which both
convey darker themes. ‘Smalltown Boy’ narrates the story of a homosexual man who flees his town
due to disapproval of his sexuality, whilst ‘Leviticus: F*****’ similarly focuses on a man who
commits suicide after being kicked out for being gay. Ndegéocello’s video was not aired by BET
and an explicit scene was omitted by MTV because of the portrayal of suicide in it’s music video.
The rapper Logic’s 2017 release ‘1-800-273-8255’ addresses a similar story of a teenager kicked
out for being gay and then kicked out of his lover’s house after the father finds them in bed
together. It then shows the protagonist nearly taking his own life before calling the US’ national
suicide prevention hotline (hence the songs title) and eventually marrying his lover years later. The
fact that a reportedly heterosexual artist can address these problems is an indication of music’s
political progress. It is arguable that Bronski Beat and Me'Shell Ndegéocello are speaking from a
more realistic point of view as homosexual artists who know the queer experience firsthand.
Nevertheless, it would seem counterproductive to resist the attempted destigmatisation of such
issues, especially by a heterosexual artist who generally may be more widely accepted.
23
On the UK Official Singles Chart Top 100 for 20-26th July, there were at least two artists/groups
featured with members who are openly part of the LGBTQ+ community (The Official UK Charts
Company, 2018). Despite this maybe not seeming an incredible feat, Years and Years (whose lead
vocalist Olly Alexander is openly gay) were at #10 with single ‘If You’re Over Me’ which peaked at
#6. Whilst this song may be discussing Alexander’s lover, it does not explicitly discuss a same-sex
relationship and while there is no way of measuring whether this affected the success, it could
have been a factor. Peaking at #22 but charting at #56 at the time previously stated, the other
LGBTQ+ artist whose track was featured was Rita Ora yet the song was the aforementioned ‘Girls’
that publicly addresses her bisexuality with lyrics such as “I'm fifty-fifty and I'm never gonna hide it”
but has still been under scrutiny for supposedly perpetuating the stereotype of girls who are only
attracted to the same sex whilst under the influence.
Although some musicians are blatantly addressing sexuality, some artists including Frank Ocean
are also more vague in their lyrics. In multiple songs, he has used the words “he”, “him” and “boy”
when discussing his own same-sex relationships, but the most conspicuous lyric he has about his
queer experience is the mention of being taken to a gay bar which is the only clear mention of
homosexuality on his album ‘Blonde’. This could be argued to prove societal advancement as
maybe there is less need to highlight sexual orientation as it may be less stigmatised. Even though
they have now come out as gay, artists like George Michael and Ricky Martin used to refer to love
interests in their lyrics with use of female pronouns. The luxury of being able to disclose your
sexuality openly with little to no consequences may demonstrate how far both the music industry
and society have come.
Polarising the positive use of queer subject matter in music, there have been countless cases of
homophobic themes throughout history. Although it was released in 1987, The Pogues’ ‘Fairytale of
New York’ casually uses the word “f*****” as a slur and is still one of the most popular christmas
songs heard year after year. Other 1980s songs ‘One In A Million’ by Guns N’ Roses and ‘Money
24
for Nothing’ by Dire Straights use the same word in a scornful manner and even though this
may’ve been a sign of the times, there was plenty of pro-LGBTQ+ music released in the same
decade. This bigotry could even be attributed to the wide genre of rock music. But this can be
disproven by the music video for heavy metal band Slipknot’s ‘Snuff’ which features a cross-
dressing narrative as well as the existence of multiple ‘queer punk’ bands.
Concerning recent music, there is still improvement to be made. Renowned rappers such as
Eminem and Lil’ Wayne have used openly anti-gay lyrics in their songs with minor repercussions.
Eminem raps “whether you're a fag or lez or a homosex, hermaph or a trans-a-vest”, all
disrespectful terms for their respective communities. He even went on to verbally assault Caitlyn
Jenner (a transgender woman) calling her by “Bruce” (her former name) and referencing male
genitals in order to mis-gender her during a live radio freestyle. The use of the term “batty boy/
man” is frequent in dancehall music. This is a pejorative phrase used derogatorily towards gay
males. Despite the less mainstream genre, it is still a major issue granted the supposed
progresses the LGBTQ+ community have made. Popular UK rappers such as Lethal Bizzle have
also used the term which goes to show how a less widespread genre can still influence other more
accepted genres. Even more contemporarily, Taylor Swift has used detrimental language when she
says “tell your friends that I'm obsessive and crazy, that’s fine, I'll tell mine that you're gay” in her
2006 song ‘Picture to Burn’. The use of “gay” as an insult is a less direct homophobic attack but
leads the LGBTQ+ community to question why their sexuality should be deemed offensive. As a
critically acclaimed artist and one of the most successful musicians of this generation this is
particularly worrying because most modern pop music is normally known for a light-hearted,
accepting nature.
Although the industry is still rife with these issues, perspectives are definitely changing. For
instance Jay Z, a hip-hop musician who tackles issues of racial injustice in America through his
music, compared homophobia to racism in an interview with CNN stating that it is “still holding the
country back” and that “what people do in their own homes is their business”. When discussing
25
former US president Barack Obama’s support of pro-LGBTQ+ legislation, he said that it was “the
right thing to do whether it costs him votes or not”. As a rapper, his statement was of significance
as many rappers perpetuate homophobia throughout their music. With that being said, there are
many other esteemed hip-hop artists who are challenging this such as A$AP Rocky, Childish
Gambino and Kanye West (as well as the previously mentioned rappers Macklemore and Logic).
26
Conclusion and Recommendations

The aim of this research project was to ascertain whether the representation of queerness in music
has been helpful or detrimental for the LGBTQ+ community. The extensive research gave findings
supporting both helpfulness and detriment due to the scope of content available throughout
different time periods and ranging across various genres. A substantial amount of the research
supported the hypothesis that music would help bring recognition to queer peoples’ struggles. This
was suggested by the surveys and much of the audio-visual and lyrical analysis. Other musical
content also showed the helpfulness but in a way that was different to the hypothesis. For
example, songs such as gay anthems that focused on the positive aspects were still suggested to
have a helpful queer representation. There were also many pieces of data that opposed the
hypothesis with issues such as misrepresentation and defamation of queer people. The main
negative representations were unsurprisingly hip-hop and rap music due to the longstanding
relationship with homophobia. The methods used and data collected were very useful in
determining answers to the research questions however the lack of responses undoubtedly
affected the results.
When looking at the collated data in it’s entirety, it seems that there is more evidence supporting
the helpfulness of queer representation. The amount of pride anthems in recent years may be
correlated with LGBTQ+ rights victories and many major label artists are discussing issues that
would have been disregarded in previous eras. The data that proved the representation’s detriment
had a tendency to either come from earlier time periods where society and politics were not as
accepting and where homophobia was rife. This did however accentuate the issues in genres such
as hip-hop and dancehall as they are behind the times in this respect. But as previously mentioned
this was something that was expected before going about the research and as appropriately
outlined by Warner, “the range and seriousness of the problems that are continually raised by
queer practice indicate how much work remains to be done”. (Warner, 1993)
27
Retrospectively, if there were no time restraints put on this project, it may have been possible to
find more people who were willing to partake in the surveys. Also, because of the extent of musical
analysis involved, more time could mean there would be more songs to look at. Both of these may
have helped to increase the reliability and validity of the data collected. Conducting interviews with
individuals who are more familiar with the topics of queer theory and popular culture may've also
been useful as this would have given more understanding into the concepts surrounding this area
of research.
This project is important for other researchers and practitioners as whilst most research has been
completed to establish key themes and applications, this project presents a seemingly unstudied
approach questioning the beneficialness. Future research projects related to this topic could
investigate certain genres such as hip-hop or even time periods to determine the reasons for the
LGBTQ+ community’s detrimental representation. A study into a more specific form of musical
content (music videos, lyrical content, performance) may also give a more conclusive result as
there was a lot of material with varying conclusions.
The various research methods of surveys, academic reading, statistical analysis, audiovisual
analysis, lyrical analysis and performance analysis allowed the researcher to find the results
discussed. With all of the research put into consideration, although there are still a lot of issues
with homophobia and misrepresentation, most of this representation has been widely useful
alongside sociopolitical advances to benefit the LGBTQ+ community in terms of acceptance and
the display of the hardships they face.
28
References
Bolich, G. (2007). Transgender History & Geography: Crossdressing in Context.
Breaux, C., Neuble, M., Gambetta, C., Risto, K., Nugent, W. 2012. Bad Religion. [I could never
make him love me] New York City, New York: Def Jam Recordings
Breaux, C., Ho, J. 2012. Forrest Gump. [You run my mind boy] New York City, New York: Def Jam
Recordings
Breaux, C. 2016. Good Guy. [Here's to the gay bar you took me to] New York City, New York: Boys
Don’t Cry
Breaux, C. 2012., Thinkin’ Bout You. [My eyes don't shed tears, but, boy, they pour] New York City,
New York: Def Jam Recordings
CNN, 2012. Jay-Z: Opposing Same-Sex Marriage is Discrimination. [video online] Available at:
<https://www.youtube.com/watch?v=xZsItunLZDU> [Accessed (26th July 2018)]
Donnelly, R. (2017). Radical Bodies in Music Video: Feminism, Queerness, and Subversive
Performance of Gender. Ph.D. Goldsmiths, University Of London.
DJ MACDADDY, 2015. Eminem's Brand New Freestyle on Sway In The Morning (July 23rd, 2015
Raps Caitlyn Jenner Bill Cosby). [video online] Available at: <https://www.youtube.com/watch?
v=UUgIFjcm_CQ&t=6s> [Accessed (26th July 2018)]
Finer, J., MacGowan, S., 1987. Fairytale of New York. [You cheap lousy faggot] Kings Cross,
London: Pogue Mahone.

29
Germanotta, S. 2011. Yoü and I. [Live Performance] Performed by Lady Gaga and Brian May.
[Nokia Theatre, Los Angeles, California. 28 August]
Halberstam, J. (2018). Gaga Feminism: Sex, Gender, and the End of Normal. Boston: Beacon
Press.
Hawkins, S. (2015). Queerness in Pop Music. London: Taylor and Francis.
Heath, C., Hindmarsh, J. and Luff, P. (2010) Video in Qualitative Research. 1st ed. London: SAGE
Publications.
Hennen, P. (2008). Faeries, bears, and leathermen. Chicago: University of Chicago Press.
Horn, K. (2010). Camping with the Stars: Queer Performativity, Pop Intertextuality, and Camp in the
Pop Art of Lady Gaga. Masters. University of Erlangen-Nuremberg.
Jennex, C. (2013). Diva Worship and the Sonic Search for Queer Utopia. Popular Music and
Society, [online] 36(3), pp.343-359. Available at: https://doi.org/10.1080/03007766.2013.798544
[Accessed 20 Jul. 2018].
Jfahr, 2007. Me'Shell NdegéOcello - Leviticus: F*****. [video online] Available at: <https://
www.youtube.com/watch?v=U0N83NvSfk4> [Accessed (26th July 2018)]
Jooma, N. (2011). The Public Performances of Pop Star Lady Gaga. Masters. University of the
Witwatersrand.
30
Knopfler, M., Sumner, G. M. T., 1985. Money For Nothing. [See the little faggot with the earring and
the make-up] Burbank, California: Warner Bros. Records.
Kumari, A. (2016). “Yoü and I”: Identity and the Performance of Self in Lady Gaga and Beyonce.
The Journal of Popular Culture, 49(2).
Kylie Minogue, 2010. Kylie Minogue - All The Lovers. [video online] Available at: <https://
www.youtube.com/watch?v=frv6FOt1BNI> [Accessed (26th July 2018)]
Lady Gaga, 2010. Lady Gaga - Alejandro. [video online] Available at: < https://www.youtube.com/
watch?v=niqrrmev4mA> [Accessed (26th July 2018)]
Lady Gaga, 2011. Lady Gaga - Born This Way. [video online] Available at: <https://
www.youtube.com/watch?v=wV1FrqwZyKw> [Accessed (26th July 2018)]
Lady Gaga, 2011. Lady Gaga - Yoü and I. [video online] Available at: <https://www.youtube.com/
watch?v=X9YMU0WeBwU> [Accessed (26th July 2018)]
Lambert, M., 2012. Same Love. [I can't change, even if I tried, even if I wanted to] New York City,
New York: Macklemore LLC.
Latek, A. (2009). Queer Artists in Popular Music. Kenyon College.
Leibetseder, D. (2012). Queer Tracks: Subversive Strategies in Rock and Pop Music. 1st ed.
London: Routledge.
Lennox, A., Stewart, D. 1984. Sweet Dreams (Are Made Of This). [Live Performance] Performed
by The Eurythmics [Shrine Auditorium, Los Angeles, California. 28 February]
31
Lister, L. (2001). Divafication: The deification of modern female pop stars. Popular Music and
Society, 25(3-4), pp.1-10.
LogicVEVO, 2017. Logic - 1-800-273-8255 ft. Alessia Cara, Khalid. [video online] Available at:
<https://www.youtube.com/watch?v=Kb24RrHIbFk> [Accessed (26th July 2018)]
London Recordings, 2017. Bronski Beat - Smalltown Boy (Official Video). [video online] Available
at: <https://www.youtube.com/watch?v=DU-yXAXz4DI> [Accessed (26th July 2018)]
Mathers, M., Bass, J., Bass M., 2000. Criminal. [Whether you're a fag or lez or a homosex,
hermaph or a trans-a-vest] Santa Monica, California: Interscope Records.
Ndegéocello, M., 1996. Leviticus: F*****. [His mother would say save him], [The man kicked the
f***** out the house at 16] Burbank, California: Maverick.
Nelson, T. (2013). Upskirting the Past: Cross-Dressing Divas and Their Impact on LGBTQ Rights.
Undergraduate. University of Wisconsin La Crosse.
Ødegård, V. (2018). Drag Queens in Cinema and Television- The Influence of Mainstream Media
on a Subversive Artform. Masters. Norwegian University of Science and Technology.
Ora, R., Raphael, K., Tamposi, A., Coffer, J., Thorpe, J., Almanzar, B., Lee, B., Wotman, B., Diehl,
B., 2018. Girls. [Sometimes, I just wanna kiss girls, girls, girls. Red wine, I just wanna kiss girls,
girls, girls], [Now I could be your lipstick, just for one night (one night)] New York City, New York:
Atlantic Records.
Padva, G. (2014). Queer Nostalgia in Cinema and Pop Culture. Basingstoke: Palgrave Macmillan.
32
Paxton, B. (2011). My Bad Romance: Exploring the Queer Sublimity of Diva Reception. Masters.
University of South Florida.
Perry, K., Gottwald, L., Martin, M., Dennis, C., 2008. I Kissed A Girl. [It's not what I'm used to. Just
wanna try you on], [I kissed a girl just to try it. I hope my boyfriend don't mind it. It felt so wrong. It
felt so right. Don't mean I'm in love tonight], [You're my experimental game] Hollywood, Los
Angeles, California: Capitol Records, Inc.
Perry, L., 2002. Beautiful. [You are beautiful no matter what they say] New York City, New York:
RCA Records.
Queen Official, 2008. Queen - I Want To Break Free (Official Video). [video online] Available at:
<https://www.youtube.com/watch?v=f4Mc-NYPHaQ> [Accessed (26th July 2018)]
Railton, D. and Watson, P. (2013). Music Video and the Politics of Representation. Cambridge:
Cambridge University Press.
Rose, A. 1988., One In A Million. [Immigrants and faggots, they make no sense to me. They come
to our country and think they'll do as they please] Santa Monica, California: Geffen Records.
Slipknot, 2009. Slipknot - Snuff [OFFICIAL VIDEO]. [video online] Available at: <https://
www.youtube.com/watch?v=LXEKuttVRIo> [Accessed (26th July 2018)]
Spatz, G. (2012). Born (Again) This Way: Popular Music, GLBTQ Identity, and Religion. Masters.
Bowling Green State University.
33
Street, J., Hague, S. and Savigny, H. (2008). Playing to the Crowd: The Role of Music and
Musicians in Political Participation. The British Journal of Politics and International Relations, 10(2).
Swift, T., Rose, L. 2006. Picture To Burn. [So go and tell your friends that I'm obsessive and crazy.
That’s fine I'll tell mine that you're gay] New York City, New York: Republic Records
Warner, M. (1993). Fear of a Queer Planet. Minnesota: University of Minnesota Press.
Years & Years, 2016. Years & Years - Desire ft. Tove Lo. [video online] Available at: <https://
www.youtube.com/watch?v=GNb4FBawH_U> [Accessed (26th July 2018)]````````
34
Appendices
Appendix A: Survey Results 1
35
36
37
38
39
Appendix B: Survey Results 2
40
41
42
43
44
Appendix C: Music Video Stills
45
46
47
48
49

2 - Is Queer Representation in Pop Music Helpful or Detrimental For The LGBTQ+ Community

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

2 - Is Queer Representation in Pop Music Helpful or Detrimental For The LGBTQ+ Community

Uploaded by

Copyright:

Available Formats

Louis Cahill MIP-603 Research Project

Is queer representation in pop music helpful or detrimental for the

Student ID: 1394221

Music Industry Practice (Production)

31st July 2018

Word count: 5756 words

misrepresentation of lesbian and bisexual women.

of homophobia and misrepresentation, the representation is helpful overall.

2.1. Lady Gaga as a Feminist and LGBTQ+ Icon Pages 9-10

2.2. Beyoncé as an Activist Pages 10-11

2.3. Divas and Gay Men Pages 11-12

2.4. Drag and Crossdressing in Music Pages 13

2.5. Queer Politics in Music Pages 14-15

3. Methodology Pages 16-18

4. Results, Discussion and Analysis Pages 19-26

5. Conclusion and Recommendations Pages 27-28

References Pages 29-34

Appendix A: Survey Results 1 Pages 35-39

Appendix B: Survey Results Pages 40-44

Appendix C: Music Video Stills Pages 45-49

identification for all members of the LGBTQ+ community.

LGBTQIA. This may also be seen written as GLBTQ+.

An abbreviation referring to the sexual practices of bondage, discipline/domination, sadism and

An abbreviation for Black Entertainment Television.

An abbreviation for Music Television.

Lady Gaga as a Feminist and LGBTQ+ Icon

An artistry comprising of considerably palatable manifestations of pressing issues to a mainstream

audience demonstrates an intent to facilitate sociopolitical advancement.

be a reason she is dubbed a gay icon.

traumas and limitations.” (Spatz, 2012)

not mind distancing fans if necessary.

Divas and Gay Men

against and around canonical narratives.” (Paxton, 2011)

beginning to incorporate activist messages in their songs.” (Paxton, 2011)

performance.” (Paxton, 2011)

Drag and Crossdressing in Music

drag, music has always been a necessary feature.” (Taylor, 2008)

cultural norm of masculinity” which “heightened an awareness of male vulnerability.” (Hawkins,

Queer Politics in Music

based only on the aesthetics and history of the genre.

audience in terms of sincerity and again notions of authenticity.” (Hawkins, 2016)

study into her artistry.

no way to use only statistics to fully measure helpfulness and detriment.

due to the broadness of the initial research questions.

a larger scope of opinions would be needed to build on this knowledge.

and collaboration.” (Heath, Hindmarsh and Luff, 2010)

“The lyrics and notes of a song can tell a story of

been necessary to answer the question.

questions was necessary.

Results, Discussion and Analysis

Appendix A), there were some visible patterns. As shown in

Fig.1 and Fig.2, Lady Gaga was considered the most

Way’ was considered the most important gay anthem of all

time at 56%. It is also worth noting that she came joint

most common answer for the most popular video containing

queer themes. Although I did not record the age groups of

respondents, it is likely that this is resultant of younger

participants due to the survey being posted on social media

platforms consisting of primarily younger users. In the survey,

and Milo Yiannopoulous) were chosen. This was interesting

as it showed 78% of respondents considering musicians their

most important gay icons. Marsha P. Johnson is a somewhat