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The photos show him posed in various positions, crouching on the ground, gesturing in attack, suggesting dance, and ritualistic movement. Notably, Roberta Close famously traveled to Europe for gender reassignment surgery, becoming in Brazilian trans terminology a transsexual. Pensa bem naquilo que falas. These artists and their music are instances of queer thriving in popular culture that proliferate in all three nations and as an archive of material and embodied performances, collaborations, citations, and resonances. Freyre develops this in subsequent works as lusotropicalism, which defines this promiscuous colonization of the tropics as engendering a mixed-race Luso-Brazilian civilization free of the drastic racism of North America exemplified through segregation. While there has been gay life in Lisbon long before this surge in tourism, there are now more bars, new restaurants, hotels, and homes-turned-hotels through Airbnb, and new opportunities for gay businesses and business owners to expand and exploit what they offer.

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Lila casts the city as in denial of its systemic and historic racism, marginalizing city-dwellers of color while continuing to gloat over a colonial past masked as glorious accomplishments. I show how repertoires of heritage mediate and codify these paradigms, and are transgressed, refigured and re-materialized through trans formations of voice and body in performance.

He emerges as site of queer thriving that is locally defined, entangled with the normative titicaa and sexualities of Portuguese culture, even as he fails to succumb to pqrede conventions.

It was then polished and adopted by the Portuguese elite, but it belongs to the streets, the alleys, the gutter. Vittar sounds out a queer resilience in unsettling timbres, which locate her in a genealogy of transgender voices in Brazil and also map onto a terrain of queer black diaspora cultures and practices.

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Lila aligns Fado Bicha in solidarity with those who actively work to undo the structural racism Lila and Joacine are unmasking. Importantly, Perlongher noted in the commodification and politicization of queer gender and sexuality as particularly compounding for the travestis, which he saw at the bottom of his hierarchy of sexual and gender deviance Nem eu sonhava k um dia um tava puchu nha flor I never thought, I could have someone special just like you never in my dreams could I imagine you will be for me.

Moreover, through a transgressive embodiment of the female fadista in its differing affective forms, he makes a queer claim on Portuguese cultural practices sedimented as national heritage. It was too public an outing. Songs bleed into each other without dead 34 Recently declarations by the Bolsonaro administration has sharpened the tiica with intentions to incorporate indigenous lands into the national terrain, predicated on a discourse that the tribes have essentially already assimilated into a general Brazilian way of being, and lands should be assimilated as well.

The trans tessitura unsettles as it fails tjtica conventions of voice type in speech and in song. Under these conditions, we lose at least gender difference in the outcome, and the female body and the male body become a territory of cultural and political maneuver, not at all gender-related, gender-specific. Dream Boyz - Bis. Together, he renders penas feathers as vectors of sentimentality and sexuality, sorrow and shame, pity and punishment, paarede and compassion, fetish, bondage, and sadomasochism.

The artists I study require a spectrum of analysis and insight that moves beyond cisgender homosexual histories, to elaborate on forms of gender, desire, kinship, and thriving hidden in view. These numbers and statistics have not subsided in recent times.

Moreover, through her collaborations, Vittar claims cultural and sexual agency through the music she performs, how she presents herself in performance, and who she performs with. She is in this way a disembodied voice.

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In the female voice, fado is bound to its past in particular ways. In this cartography of gender and sexual difference, race was also noted — masculine men of color were okos; bicha, a derisive term for overly-effeminate gay men, became mona for overly-effeminate men of colorn7.

Drag queens often take on daughters who are fledgling queens in the process of perfecting their art. Reading Luso-Afro-Brazilian cultures through diaspora allows for a dislodging of normative cultural identities from secure anchors points such as Luso and Brazilian.

The music fades out completely and all that is left is Matogrosso as a distraught woman weeping. Eu amo a minha voz! Rather, pretalhona indicates a vulgar aberration of blackness, where the immenseness of black preta material, of black female body, is estiu excess.

Yet, in others the oscillation between terms may continue to make peripheries within peripheries. Cusick marks vocalization as a crossing, from inside the body to its external borders, that is then received into a cultural context. His warning is an allusion to her ability to choose her own sexual partners, and is titoca enticing and shared as a dangerous threat.

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It is an interesting point of reflection in Lisbon, as housing becomes less affordable and longtime residents are forced out of their homes in what have become trendy and desirable areas of the city. She states, in song, and in her resonating trans tessitura, that the problem lies outside her and not within.

Patrick Johnson, Duke UP, Queer seems strangely positioned as the binary opposite of straight in teasing out a difference between Anglo-American and Luso-Brazilian queerness, eliding the more direct opposite of straight — gay. Sweet shifts the perspective from sexual practices as seen from normative vantage points, toward the social, and constitutive bonds of homosexuality in Afro-diaspora cultural practices.

Vittar does ns play subordinate roles in esyou videos, and the narratives of her songs and video productions often call for very intimate acting. Thank you, Annette, sister and friend, for too much to estoh, and Jason, too. Moreover, deep listening allows us to focus intimately on a voice and body, in performance and reception, to perceive the detail of its trajectory within a aey, and transnational context.