“You Ain’t my Mother! Yes, I am!”: an Analysis of the Term “Mother” in the Queer Community
Abstract (300 words maximum)
This paper will focus on queer linguistics and lingo and how it is appropriated in an effort to market to queer audiences. The presentation will focus on the usage of the word “mother” (a term with a slippery definition that is generally agreed upon to mean a strong, charismatic, mentor and leader). The word became popularized in queer spaces from its origin in 18th century England, to NYC’s drag Ballroom scene of the 1980s, and increasingly in the last decade as a term commercially employed by straight creators, like Meghan Trainor, to market to queer audiences. Methodologically, my approach will implement strategies of both performance studies and linguistics illustrating what happens when that community emerges as a marketable group. I provide a close reading of sources like RuPaul’s Drag Race and Paris is Burning to demonstrate the term’s relationship to queer found families and community, contrasting this with an example of appropriative use examining Meghan Trainor’s 2023 song, “Mother.” Ultimately, this project demonstrates how found family is created in the queer community through linguistic bonds, despite attempts to capitalize on the cultural identity of queerness.
Academic department under which the project should be listed
COTA - Theatre and Performance Studies
Primary Investigator (PI) Name
Thomas Fish
“You Ain’t my Mother! Yes, I am!”: an Analysis of the Term “Mother” in the Queer Community
This paper will focus on queer linguistics and lingo and how it is appropriated in an effort to market to queer audiences. The presentation will focus on the usage of the word “mother” (a term with a slippery definition that is generally agreed upon to mean a strong, charismatic, mentor and leader). The word became popularized in queer spaces from its origin in 18th century England, to NYC’s drag Ballroom scene of the 1980s, and increasingly in the last decade as a term commercially employed by straight creators, like Meghan Trainor, to market to queer audiences. Methodologically, my approach will implement strategies of both performance studies and linguistics illustrating what happens when that community emerges as a marketable group. I provide a close reading of sources like RuPaul’s Drag Race and Paris is Burning to demonstrate the term’s relationship to queer found families and community, contrasting this with an example of appropriative use examining Meghan Trainor’s 2023 song, “Mother.” Ultimately, this project demonstrates how found family is created in the queer community through linguistic bonds, despite attempts to capitalize on the cultural identity of queerness.