Sissy Bounce

Posted: July 28, 2011 in Masculinities, metrosexuality, Uncategorized

http://rachelrabbitwhite.tumblr.com/post/8063726200/sissy-bounce-is-the-queer-offshoot-of-bounce

‘ “Sissy Bounce” is the queer offshoot of bounce music, a genre of hip hop originating in New Orleans, perhaps most recognizable for it’s influence in tracks like the Ying Yang Twins “Shake it like a Salt Shaker”.

The queer version, per usual, is way more of a fucking party. This video is from a Williamsburg show where “Sissy Bounce” artist, Big Freedia performed. I so, so wish I were there.’

Now, I am all for shoving my figurative queer ass in people’s faces, and any other queer ass I can think of – the metrosexual ass, the ‘passive masculine’ ass, the woman-as-receiver ass, the macho-fag who needs a good going over ass. And ‘Sissy Bounce’ looks to be a very exciting and subversive thing. But I think, unlike Rachel Rabbit Write, I might actually be scared if I was confronted by all those pretty pert bouncing queer asses all at once!

Maybe I need some Sissy Bounce in my repressed, cerebral life…

Comments
  1. billsnshits says:

    It’s the ever evolving hip hopifying caribbeanization of pop culture. There’s nothing “gay” about this and to call it queer/metrosexual is to do as is so often done, give white people credit as originators of styles they’ve ripped off of (or at best adopted) from blacks.

    I love it. So much more physical than what white urbanites do. To get “physical” on the dance floor you really, but really, have to know how to dance or else any attempt at contact is just lame hugging.

    When this bounce type dance gets physical, anybody can do it, lack of repression is more important than dexterity (unless you want to do it really well). It’s also condemned as being dry humping rather than dancing. Which I see as praise.



    easy physical:

    hard physical (called daggering and thus decried by feminists and govt, from reports)

    More coordination required (they’re def “gay” and so get to play with the girls more cooperatively)

    And further proof that it’s not a “queer version” but just pure rip off of? It was in disco before. And disco was a rip off and embellishment of black and latin street dancing:

    If it’s called sissy bounce as an offshoot of music, that doesn’t acknowledge that the music is almost nothing and it’s all about the dancing, as is a lot of music these days.
    For all their muscles, Metros are damned sissies just like their queer brethren. They don’t liberate, they dilute.

    Frankly I wonder just how free thinking foucault would be, if he were dared to go bouncing like that. Or she-cault.

    • Reuben says:

      you are right thats its not ‘sissy bounce’ but ‘nola bounce’ or ‘bounce’ and was only referred to as sissy when outsiders from the scene began noticing some of the makers were openly gay or trans like sissy nobby and katey red.

      but as an Afro Caribbean i have to say the music ‘soca’ and the dancing done to it like in the carnival clips you posted have nothing to do with nola bounce, like wise ‘choque’ clips from colombia have no relation either other than they are all African diaspora cultures.

  2. billsnshits says:

    That last one was supposed to be this comparison to disco bump:

  3. Lovely video thanks!

  4. billsnshits says:

    Really? You don’t see the similarity or you mean there is no historical connection? Explain how.
    If you have insight please share. I am fascinated by this stuff.

    • billsnshits says:

      Also, I’m referring entirely to the dance styles, divorced from the music. That’s a prejudice of mine, to value dance as more inherently cultural (b/c people do it) than music (b/c people listen passively for the most part). Like I say, it’s a prejudice of mine and you could argue it down pretty easily.

    • billsnshits says:

      To give you a clear idea of just how extreme-to-silly my prejudice in favor of considering dance above music is, I selected all those clips without even listening to the audio, which was off.

  5. Reuben says:

    Their Afro Diasporic styles so some will say they wll have a common root in an African style but soca choque and bounce all have no relation to each other historically especially musically. soca for one is an extension of caribbean calypso that started in trinidad late 60’s early 70’s. Bounce came out of a song from New Orleans that kick started the style in the late 80’s early 90’s, and choque im not quite sure but i believe is just a dance style done to reggaeton which is a take on reggae that started in Panama and other countries with both jamaican and hispanic cultures.

    These musics all have differing origins and soca especially sounds nothing like the others, a Chicago style called footwork or juke sounds similar to bounce but the dance is upright quick foot movements like original jazz styles. I would say the similarity in dancing is just because they are all Afro Diasporic cultures and we like to shake ass there is no big overt direct connection like music having the same genus or caribbean peoples going over to Nola and starting bounce.

    as an aside ive always found the uk love of dance music esp underground, funny considering the lack of proficiency importance and overall embarrassment when it comes to actually dancing.

    the english u20 squad dancing in Colombia

    notice only the tall black guy really lets go and gets involved.

  6. billsnshits says:

    And those are sportsmen! Born metrosexuals!

    The issue is where did the tall black guy grow up. Regardless of skin color, when people grow up in a wasp culture, they absorb and adopt its extremely body-repressive values. I’m not ethnically english and I’ve never found myself really comfortable around the english, except a very small number of easy going acquaintances. The rest are either hyper repressed prudes or else falsely laid back, they’re just masking their repression as laziness or dumbness.
    I have no idea who is really to blame for “english repression”. It’s probably many factors.
    But it’s self reinforcing. If you aren’t subject to it, the anglos (even if they are immigrants who want to identify with dominant anglo-identity) look down upon you.
    I imagine a lot of proper anglos look on at carnival festivals with envy (liberals, sigh) or a sort of witch-hunting pervert-accusing eye (conservatives, sigh). But in either case, the “ass shaking” among blacks isn’t as wild in anglo nations (or frankly, western europe) as it is in the caribbean and latin america. I mean, the black people themselves are much more repressed when celebrating in anglo nations, much to the disappointment of invited DJs. It’s hard to get them to shake their ass when everyone has to be “cool” and metrosexy.

    I’m going to guess that Bounce is more closely aligned with rap/hiphop/techno. In carnival parades, the contrast, to my largely ignorant ear, is between those popular contemporary genres, that I would not have known to even relate to bounce or what Bounce was, and calypso rooted music (soca, steelpan). There surely is cross over, even if it’s superficial. The use of sampled instruments (steel, wooden drum, sometimes the scratchy stick on board I can’t recall its name) from the older music finds its way into modern “black” music. But then stuff that a folklore-sympathizer like myself would consider as totally ahistorical modern pop, b/c there’s just no relation to the older music, seems to be the most popular among young revelers,who are thoroughly “anglicized”.

    Dance music among anglicized people is extremely anomalous in world culture. Currently, I think they take it all as “trance music”, which is why it’s okay to dance just by shaking and wobbling. If you want to dance “sexy” it’s almost always a disaster, with the rare girl pulling a few choice moves with which the guy can’t keep up and just grabs at her limply. Or else it’s dance time for guys only, usually experienced break dancers who can go nuts amongst themselves without it being “gay”.

    But repression is there among the african diaspora too. Even though they shake ass and now, at least among the younger generations, mime/simulate butt fucking, there’s a total denial about it. Which is probably what allows it to happen in the first place. The older generation dancing to soca look like they’re waltzing. But as I said above, the world could use more dry humping/simulated butt fucking to loosen up and get intimate with strangers without commitment or danger. So I find plenty to praise the overtness of current pop practice, despite is ahistorical consumerism.

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