On Queercore

I really enjoy hardcore music, I have inspired by some of the music within the genre, such as B4MV, A7X, and Breaking Benjamin.

This music was quite popular with my co-workers at Sears, and McKesson, though I had particular exposure at McKesson because they would play it in Shipping/Receiving, with no way for me to get away from that. As I started to listen to really listen to it, I found it full of creativity, and emotional acknowledgment. Not long after that, issues started to come up that as a gay man, I not only liked the music, but saw myself within the music.

That lead to a sort of war between me, these co-workers, and my parents, as I was told that hardcore was “their” music, and artists like Madonna, Britney Spears, and Destiny’s Child was “your [my] music.” What did this mean? Well, apparently, that being a gay man essentially meant to them that self-expression was limited to them as feminine, female, or otherwise in the role of submission, and they felt a burning desire to dictate what music I was listening to, and why. Seldom is ones taste in music, or one’s assertiveness, defined by one’s gender or sexual orientation, as Rob Halford of Judas Priest himself is gay, and the band Halestorm‘s lead vocalist and guitarist is Lizzy Hale, not exactly a man. Additionally, there was an encouragement to listen to classic rock, which was hardly my favorite genre, as I only heard it as a kid with my Dad while he was driving during the 1980s and early 1990s. As, of course, I became older, like everyone else, my taste’s developed, rather than changed. So by the late 1990s, I would come home from school and watch Total Request Live (or TRL) on MTV, which often featured Caron Daly as Emcee. The countdown featured many modern artists, like Good Charlotte, Marilyn Manson, Hanson, Aaliyah, Eminem, and Korn.

According to DigBoston‘s article, “Aye Nako: Queercore For The Heart And Soul“:

[Mars ] Ganito grew up in Arkansas where he started attending shows at age 15. There wasn’t any type of support readily available, and—as one of the only queer people there and “definitely” the only person of color—Ganito didn’t have any opportunity to talk about his experiences in a way that felt welcome. With Aye Nako, he’s not only able to create support for his past self, but for the LGBTQ youth of today.

“I see a lot of resistance to people speaking up about misogyny, transphobia, or racism,” says Ganito. “It mostly comes from more straight cis white guys who can’t stand to see people who aren’t in that demographic be successful or happy or have any sort of self-love or respect for themselves. They like to be at the top and not see anyone else care about themselves. I feel like I’ll never be able to change that, but I’m hoping just to put this out there, like, ‘Look black people, brown people, queer people, we make rock music and are into punk. We can do it. It’s fine if you don’t like it but that’s what we’re doing. Playing drums isn’t just for cis straight white guys.’ I guess if they’re mad, we’re doing something right.”

Tell me about it!

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One thought on “On Queercore

  1. Pingback: The Best of Justin Timberlake: 2002-2013 | The Progressive Democrat

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