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Queere Subkultur – Geboren aus der Randständigkeit, bedingt durch den radikalen Moment

In Testcard 20, Access Denied – Ortsverschiebungen in der realen und virtuellen Gegenwart. 2011

Queere Subkultur

A Bar Is A Bar Is A Bar
there is a tavern in this town | where every waiter wears a gown | it’s such fun you’ll never want to leave | but when it ‘s raided you will grieve | all the laws are getting rougher the police are getting tougher | if they raid this bar again we’ll have no place to play | for they do not want a drag joint and they are very firm on that point | though we break no laws we’ll have to go away | there is no other piace for miles | where you can view such stunning styles | latest gimps from paris and from rome | the stitch we’d run up while at home | all the kids are very handy they sew dresses and make candy | but they really need a place that they can call their own | if they close and bolt the entry just to please the local gentry | it’s a cinch , the kids will simply have to roam | we’ll have to go out and look to find a home, a home | so we will not be restricted just to roam, to roam | we will pack our drags and our makeup case | and just move on to another place | we can all be gay when we find another home | we’ll find another bar for us – just for us | where we will not admit the fuzz | where the atmosphere is gay and free | we’lI always act with dignity | we can have a little drinky | you can even lift your pinky | if you care to dance you ‘ll find someone to lead the way | but be sure to use discretion so you’ll make the right impression | just behave as though you just were voted queen for a day

Das von Byrd E, Bath performte »A Bar Is A Bar Is A Bar« war in den 1960er·Jahren auf einem Sampler von Camp Records zu finden, das kleine Label aus Kalifornien war auf Musik spezialisiert, in deren Texten das Leben der damaligen Homosexuellen-Szene gespiegelt wurde, auch traditionelle Songs, die queere Interpretationen anboten, wurden neu eingespielt und in einen queeren Kontext gesetzt.

Unabhängig davon, ob diese Lieder, Personen, Handlungsperspektiven oder das Nachtleben beschrieben, bargen sie durch die Auseinandersetzung mit realen Gegebenheiten ein Identifikationspotential, das zwar immer einen klaren lokalen und temporalen Bezug hatte, gleichzeitig aber auch an andere Orte und in andere Zeiten übertragen werden konnte.

Während sich die Camp Records-Songs in den 1960ern stilistisch im Bereich Chanson ansiedeln lassen und sich in den 1970ern vor allem um das Label Olivia Records queere Folk-Musikerinnen versammelten, wurden mit Queercore in den 1980ern und Riot Grrrl in den 1990ern insbesondere Punk und Hardcore zur Musik der queeren Subkultur.

Aber auch elektronische Musik, die vielfach aus einem homonormativen Umfeld heraus entstand, sowie der sonst eher frauenfeindliche und homophobe Hip Hop fanden im letzten Jahrzehnt Einzug in die queere Subkultur.

Queere Künstler_innen arbeiten in unterschiedlichen Stilrichtungen ihre eigenen Erfahrungen als Außenseiter_innen in den Texten auf und bieten Hörer_innen Identifikationsmöglichkeiten, die ihnen der Mainstream verweigert.

Queere Subkultur – Geboren aus der Randständigkeit, bedingt durch den radikalen Moment ist erschienen in: Testcard 20, Access Denied – Ortsverschiebungen in der realen und virtuellen Gegenwart.

Herausgegeben von: Jonas Engelmann / Holger Adam / Frank Apunkt Schneider / Sonja Vogel / Johannes Ullmaier

»testcard« geht in der 20. Ausgabe der Frage nach, wie sich Orte und das Leben an bestimmten Orten in den letzten Jahren verändert haben – von Gentrifizierungs-Prozessen bis hin zu neuen sozialen Netzwerken im Internet.

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