#homonormativity

I feel very frustrated by @taylorswift​’s “You Need to Calm Down” (currently “#3 On Trending” on youtube). This is not a particularly hot take.

Corporate pride tends to be highly contested in general: on the one hand, some argue that it’s helpful to LGBT+ youth to see themselves represented in the hegemony and suggest that maybe it’s better that corporations are courting LGBT+ dollars over the money of homophobes; on the other, normalization (especially normalization through capitalist/corporate interests) has historically been complicit in the further marginalization of many queer folks–especially trans women of color. To some, “You Need to Calm Down” is simply one example of corporate pride, and therefore represents the same potential for an ambiguous reading. Personally, I have tried to imagine whether this song would have meant anything useful to me as a closeted queer teen; I remember looking desperately for queer themes in “straight” music, and I remember being slightly older (18, maybe?) watching Hayley Kiyoko’s “Girls like Girls” on a loop and how much my first exposure to actually queer music produced by actually queer artists meant to me, and I don’t think even that version of me would have felt connected to Taylor Swift’s attempt to reconcile her experience as a celebrity who has literally capitalized off of internet drama to the harassment queer folks experience daily for existing as themselves.

The Onion’s article “Taylor Swift Inspires Teen To Come Out As Straight Woman Needing To Be At Center Of Gay Rights Narrative” does a great job of simplifying why exactly this video and song is so exhausting to me and many other LGBTQ+ folks: the author argues that Taylor Swift uses “LGBTQ iconography to advance her career” and that, rather than letting people speak for themselves and control their own narratives, she’s making Pride Month about herself. The AtlanticandVoxboth have run more in-depth articles breaking down the multitude of reasons why this song is deservedly coming under fire, which I highly recommend reading.

One counter argument I’ve seen here and there is that Taylor Swift is actuallynot a straight woman centering a gay rights narrative around herself–now that she’s said the word “gay” in a non-negative way in a song, its only a matter of time before she comes out! So one of the things I want to emphasize here is that while I personally don’t believe she’s queer (and per Swift’s own tumblr post explaining why she didn’t kiss Katy Perry in the music video where she says “To be an ally is to understand the difference between advocating and baiting. Anyone trying to twist this positivity into something it isn’t needs to calm down. It costs zero dollars to not step on our gowns.” she doesn’t seem to anticipate coming out either), regardless of whether or not she turns out not to be straight, this song and its lyrics areappropriating LGBTQ iconography to advance her career, and Swift isusing queer folks as accessories to perform “wokeness” and draw parallels between herself and actual marginalized communities for her own gain. She may end the music video with directions to sign her petition for Senate support of the Equality Act, but the links in the song description are all promotion for her song, her merch, and her social media accounts. She does not even follow through on the optics of social justice.

The main way I want to trace this argument is through her fundamental misunderstanding and, more significantly, misrepresentation of what homophobia is.Throughout the song/music video Swift is consistently trying to render compatible her own supposed experiences with being bullied/criticized on the internet to the violence of homophobia which is, quite frankly, fucking wild. She sings: “Say it in the street, that’s a knock-out / But you say it in a Tweet, that’s a cop-out.” What seems to be the intended interpretation of this line is that negative interactions online are cowardly, because people are “hiding” behind usernames and icons, rather than being “brave” enough to offer direct criticism and publicly/visibly own their words; I am not going to go into the potentials of this line of conversation, because I do think in another context (and said by other people) real conversations about the potentials and pitfalls of online culture in regards to purity/call-out culture, social activism/organizing, and bullying can be and are already being had. What I want to point out here is the cognitive dissonance: who can say anything in the street to someone as rich, privileged, and insulated as Taylor Swift? If Swift only accepts criticism delivered in person, she doesn’t accept criticism and she might as well own up to that. And when she is trying to tie this into a commentary on homophobia, maybe she should have considered for two seconds the kind of actual danger queer folks (especially trans and gender non-conforming) are actually in on the streets every day while she’s in a mansion/penthouse apartment (and to that extent, the gentrified trailer park imagery didn’t sit to well with me either, but I’ll get into the discussion of class later on). Queer folks really are getting knocked-out in the streets (1,2,3). Furthermore, in her desperate attempt to center her psuedo-discourse on homophobia and queer liberation around herself, she sings the lines: “But I’ve learned a lesson that stressin’ and obsessin’ / ‘bout somebody else is no fun / And snakes and stones never broke my bones”. I’m not really surprised that it doesn’t “break her bones,” given how successfully she has marketed and monetized her feuds and her own victimhood; this is just a newnother rebranding of said victimized persona, and even though she may not be bothered, there are real stakes to it beyond the “lack of fun”.

So let’s get into it. As I said before, Swift is dangerously misrepresenting what homophobia is and what it looks like, namely through the use of a progress “wrong side of history” narrative. The lines run “Why are you mad when you could be GLAAD?…Sunshine on the street at the parade / But you would rather be in the dark ages” and the music video shows what Kornhaber, writing for The Atlantic, aptly describes as “an unwashed-looking mob” holding childish signs with misspellings and the all-time classic “Adam + Eve Not Adam + Steve.” Korhnaber points out the more common use of “God Hates Fags” signs; personally, I’ve also seen a lot of the “HolyBible” “After Death, the Judgement” signs. In Swift’s narrative, homophobia looks like the obvious, regressive, primitive villain; the already defeated. Perhaps worse, it looks like the rural poor, against the backdrop of rich queer celebrities. This narrative works to render invisible the poor-and-queer, and it undermines the real dangers homophobic violence poses by imagining homophobia has already lost. Imagining homophobia as thirteen unwashed rural poor people who can’t spell the word “moron” obscures the reality that there are also the Mike Pences and the Philip Anschutzs and the laundry list of other rich and connected anti-LGBT politicians, activists, and donors who have very real effects on the lives of the disabled, people of color, women, LGBTQ+ folks, the poor, immigrants, and all the intersections thereof. This also ties into the way Swift puts forward the solution “You just need to take several seats and then try to restore the peace / And control your urges to scream about all the people you hate.” As meaningless as these lines are overall, the insinuation that there is a “peace” that we can be “restored” to that would benefit the marginalized and oppressed is ridiculous and harmful, and again misrepresents the problem. Moreover, it suggests the problem could be understood as one of bodily discipline: if homophobes “controlled” themselves better, didn’t scream so much, there wouldn’t be a problem–this gets us back to the problematics of representing homophobia as exclusively the undisciplined poor, rather than the rich and connected. It also leaves room for the potential insinuation that everybodywho is angry on the internet needs to calm down; I’ve seen a lot of jokes that this Pride Month, the 50th anniversary of Stonewall, we’re returning to our rebel roots and also celebrating Wrath. I certainly don’t plan to calm down, thanks anyway, Taylor. 

In this same vein lets consider the much quoted line: “'Cause shade never made anybody less gay”. This was the first line I heard from the song, and my immediate problem with it was, as Korhnaber also points out, thatthrowing shade comes from queer communities of color, and “there are many ways to describe a parent who disowns a trans kid, or a lawmaker who tries to nullify same-sex marriages, or a church member who crashes a gay soldier’s funeral. Shadyisn’t one.”

Swift hides from potential criticism/backlash behind a psuedo-feminist “female solidarity” with lines such as: “And we see you over there on the internet / Comparing all the girls who are killing it / But we figured you out / We all know now we all got crowns.” While there certainly are people who try to pit women against each other on the internet, again this is something which Taylor Swift has directly utilized multiple times to make herself money. I’m glad celebrities know they’ve all got crowns, but in what world does this benefit the non-rich and famous?