Great pop music demands our attention, irrespective of what we would rather listen to when we are alone. It is bold, often times inescapable and occupies an ironic space.

This irony presents itself because pop music and culture appears to be liberating and unapologetic, while simultaneously upholding hegemonic structures of heteronormativity and whiteness. In Black Looks and Representation, bell hooks acknowledges a “recognition by mass culture, that aspects of black life, like “voguing” fascinate white audiences.”[1] In addition to bell hooks’ observation, the fascination white audiences have with black sub-cultures can also be predatory and exploitative. This is why Madonna is applauded on a mainstream level for her ‘Vogue,’ music video released in 1990, while little to no respect, acknowledgement or financial compensation trickled down to the Black LGBTQ dancers and creators of Voguing.

I really love the documentary titled Paris is Burning (1990). However, reading Black Looks and Representation made me view the piece with a much more critical lense, as bell hooks probes us to consider what it truly means for a white director to feel comfortable enough with documenting the personal stories, opinions, thoughts and existence of black queer people. In her critique of the Paris is Burning director (Jennie Livingston), bell hooks states: “Livingston’s comments about Paris is Burning do not convey serious thought about either the political and aesthetic implications of her choice as a white woman focusing on an aspect of black life and culture or the way racism might shape and inform how she would interpret black experience on the screen.”[2]

It is no surprise that in the current sphere of pop music, queer artists such as MNEK, Victoria Monét, Rina Sawayama and King Princess make interesting ‘pop’ music but are artistically branded as alternative artists who do not receive the mainstream support they deserve. These artists have loyal fan bases and many including myself will acknowledge that this is what truly matters, not mainstream success or accolades. However, acknowledging the importance of supportive listeners does not negate the sad truth – mainstream pop music listeners have not embraced queer artists as fervently as they’ve embraced vocal allies of the LGBTQ community, such as Ariana Grande (who Victoria Monét has consistently written songs for over the years), Cher and Lady Gaga. These three women consistently dominated pop music in a way I am yet to see from an openly queer artist, therefore presenting mainstream pop culture as a rigid space where the illusion of freedom prevails – the illusion being that allies dominate the charts, while actual queer artists are mainly kept in the shadows.