Moses sumney gay

And beyond the real, corporeal violence of the identitarian politic inflicted on queer and trans bodies, the culture that this sort of music worked only to perpetuate the harm.

Lady Gaga’s “Born This Way” is a striking example of the connection between neoliberal rhetoric and music culture.

Do not dock me for this as Lady Gaga has been, and still is, a ground-breaking, life-changing artist. And it was through seeing Moses, in all his divine ambiguity, that I finally found the courage to accept that my gender identity was more fluid than I had previously led myself to believe—Moses’s words permanently etched into my mind.

Yet what transpired was just the increased incarceration of queer, trans, and POC bodies. Later, we also see Izzak hooking up with Leia, but they do not have sex, further hinting that Izzak is gay.

In reality, Sumney’s dating life and his sexuality have been hotly debated topics.

 

Despite its claim to materiality, the neoliberal rhetoric of pragmatic politics obscures the radical political imagination and reproduces harm on queer and trans bodies.

A Twitter thread discussing LGBTQ Africans also lists Sumney, hinting he is not straight. Artists such as Blood Orange, SOPHIE, Ivy Sole, and Arca are also momentous figures in the movement, embodying shapeshifting in both gender expression and genre.

Yet, this warping movement is only a newborn phenomenon within the mainstream.

The demarcation of systems in the language of “inclusivity,” “diversity,” and “allyship” only strengthens the system, boxing in any radical expression.

 

This pessimistic pragmatism, the asymmetrical assimilation of the queer politic, penetrated every facet of culture, including music.

Hence, Sumney’s sexuality remains a closely guarded topic, as the singer dislikes discussing his romantic life in public. The themes of love and the complexities of being loved are regularly explored through Sumney’s songs. Sumney’s music career has received major acclaim, with his songs being featured in several Hollywood projects.

Moses interlays his songs with spoken word, challenging notions of binary gender in “jill/jack” and calling to his intersectional identity as a Black, queer artist in “also also also and and and.”  Artists like him, champion fluidity in both their lyrics and their use of multiple genres (such as the rising popularity of interplaying rnb and Aphex Twin-esque ambient work), becoming creative embodiments of radical queerness.

The scenario hints that Tedros’ vision for Izzak’s music career is to portray him as a sex symbol, especially for women. “Visibility” within the racial capitalist system without the ability to dream or to change the system itself becomes the only mode of liberation.

 

In doing so, the mainstream gay politic forsook the anti-imperialist, anti-capitalist, subversive roots of the gay politic, spanning from prison abolition to the creation of the Third World Gay Liberation Front.

On the opposite end of the spectrum (sexuality is a spectrum people!), emerges a cohort of queer artists who choose to challenge classification. The work’s title even calls for a consideration of multiplicity, as in to inhabit a “gray area” where nothing is defined and the space itself lacks an overwhelming need to define itself. Because assimilation into positions of power (such as headlines touting the first POC women CEO) fails to dismantle systems of harm such as racial capitalism but only masks it.

Instead of relying solely on a queer politic that ignores considerations of intersectionality, the album posits that perhaps there is no need to create clear-cut identities but rather, we must “insist upon our right to be multiple,” a lyric that defines Grae. Sumney returned to California at age 16 and soon broke into the Los Angeles music scene with his debut EP in 2014.