Toward a Queer Music Therapy: The Implications of Queer Theory for Radically Inclusive

Music Therapy

[Note that this is a pre-publication version of a manuscript forthcoming in The Arts in

Psychotherapy.]

Interest in music therapy with lesbian, gay, bisexual, transgender, and queer (LGBTQ)

individuals has increased in the last decade. The distinctive needs of the community have been

acknowledged through the publication of LGBTQ best practices in music therapy (Whitehead-

Pleaux et al., 2012). A survey of U.S. music therapists’ attitudes towards the LGBTQ community

received 409 responses in the first two months. These respondents demonstrated progress in

music therapists’ understanding and knowledge of LGBTQ issues, but at the same time, more

than half of the respondents did not feel adequately prepared to work with LGBTQ clients

(Whitehead-Pleaux et al., 2013). Queer, in the context of this paper, denotes both a) individuals

who identify as any non-conforming sexual or gender identity (including lesbian, gay, bisexual,

transgender, transsexual, asexual, pansexual, etc.), or b) individuals, and theoretical perspectives,

that reject heteronormative sexual and gender politics. Given the complicated and fraught history

of the medicalization of sexuality and gender (Bland & Doan, 1998; Bryant, 2006; Foucault,

1978; Terry, 1999), the constitution of LGBTQ youth in particular as an at-risk group (Cover,

2012; Waidzunas, 2012), and music therapists’ increased interest in conducting affirmative

therapy with sexual minority and gender nonconforming clients, it is critical to identify the

potential challenges of putting queer youth under the disciplinary microscope of music therapy.

In other words, developing multicultural competencies around LGBTQ issues in music therapy

may be more complex than simply including or incorporating diverse sexual orientation and

gender identity issues into an existing disciplinary framework that has been historically hostile
 2

towards non-normative sexualities and genders (Ahmed, 2012; Epstein, 2007). The challenges of

conducting music therapy with LGBTQ populations within community settings has been

documented in very few sources, and this deficit in music therapy literature inspired this

interdisciplinary framework to think through these challenges. Music therapists have called for

serious consideration of queer theory in music therapy (Hadley, 2013), but at this time, it appears

that such a call has remained unaddressed in the mainstream scholarship of the discipline.

Accordingly, this work attends to a critical area of music therapy research, training, and practice

insomuch as it constructs a distinct paradigm for approaching music therapy with LGBTQ

individuals, and especially youth, in community settings.

Queer theory is an interdisciplinary field that destabilizes sexuality categories and

challenges the concept of normal and fixed identities (Stein & Plummer, 1994; Sullivan, 2003).

At the time of this publication, there were no published articles specifically on queer theory

applied to music therapy with LGBTQ clients. In order to address this dearth of literature on

what might be termed “queer music therapy,” this project investigates queer theory and applies

its theoretical concepts to music therapy interventions. The ideas of foundational queer theorists

Michel Foucault (1978), Eve Kosofsky Sedgwick (1990, 2005), and Judith Butler (1993) were

especially influential for this project. Foucault (1978) situates sexuality within historical and

cultural struggles over power and knowledge, and Butler (1993) applies this theory to

heterosexuality, suggesting that a normalized, yet complex matrix of discourses render

heterosexual identity into an unspoken imperative. Sedgwick (1990) argues that the structured

homo/hetero binary opposition is limiting and that language impacts understandings of sexual

identities. These perspectives – among many other emergent concepts in queer theory today –

can advance how music therapists currently approach working with this population and interpret
 3

music therapy experiences with LGBTQ clients. For example, statistics that circulate in the

media nearly uniformly posit LGBTQ youth as a fundamentally at-risk and vulnerable

population; however, queer theoretical perspectives reveal opportunities for empowerment

within a music therapy setting, rather than focusing on their implied vulnerability (Butler, 2004;

Cover, 2012; Erwin, 1993; Grzanka & Mann, 2014; Puar, 2012; Rofes, 1983; Waidzunas, 2012).

Relatively little music therapy research has focused specifically on queer theory (Hadley,

2013), thus the literature for this project is richly interdisciplinary and includes scholarship from

sexuality studies, LGBT psychology, counseling psychology, and the psychology of music, in

addition to formative research in music therapy. We argue here that the theoretical insights of

these diverse fields can be synergized to empower queer youth within a therapeutic environment

that is radically – as opposed to superficially – inclusive. First, we introduce and survey key

developments in queer theory. Second, we explain how queer theory may complement and

challenge recent developments in inclusive and social justice-based music therapy approaches.

Then, we outline several potential therapeutic interventions for use with LGBTQ youth that

reflect queer theory. Finally we discuss the broader implications of queer theory for music

therapy, including both practice and research that might move the field toward a radically

inclusive approach to therapy with LGBTQ clients.

Review of Literature

LGBTQ Lives in Context

Psychological problems can arise from a function of interactions within relationships and

systems, including interpersonal relationships, family, community, society, and culture (Crowe,

2004). This model of viewing psychological issues is the most applicable to LGBTQ issues, as

their mental health and disorder in relationships typically has more to do with society and culture
 4

than biology or epigenetics. Heterosexism refers to the structural disadvantages faced by sexual

minorities, including the assumption that everyone must be heterosexual (Hadley, 2013).

Homonegativity and homophobia refer to prejudicial attitudes or behaviors towards anyone

perceived to be gay, lesbian, or otherwise non-heterosexual (Cerny & Polyson, 1984; Herek,

2004; Morrison & Morrison, 2002). Heterosexual relationships are celebrated and reinforced

while queer relationships are marginalized. Similarly, transphobia denotes prejudicial attitudes

towards transgender and gender-nonconforming individuals. Further, cisgenderism is the

systemic devaluation, pathologization, and delegitimation of individuals who do not identify

with the sex they were assigned at birth (i.e., those who are not “cisgender,” the term used to

denote persons who identify with the sex they were assigned at birth (Schilt & Westbrook,

2009)). Due to these systemic social forces and cultural attitudes, LGBTQ adolescents in the 21st

century United States are particularly vulnerable to mental and physical health issues. Many of

these youth are members of non-accepting families and also experience verbal harassment,

exclusion from activities, fear of being open about their identity, and issues with depression

(Human Rights Campaign, 2013). Research also reveals that LGBTQ youth are at increased risk

of suicidal ideation (Clements-Nolle, Marx & Katz, 2006; Liu & Mustanski, 2012; Silva, Chu,

Monahan, & Joiner, 2015) and homelessness (Durso & Gates, 2012). Thus, despite some

evidence suggesting changing attitudes toward sexuality and gender (McCormack, 2012), openly

identifying as LGBTQ in today’s social and political climate may have social, legal, physical,

and emotional consequences.

For LGBTQ youth, these common struggles may also interfere with identity

development, one of the major tasks of adolescence, if youth are not provided with a support

system and effective coping tools (Fassinger & Arseneau, 2007). Psychologists have determined
 5

that music is a strong influence on today's youth and adolescents use music as a tool to express

and formulate identity (Tarrant, North, & Hargreaves, 2002). Forming musical preferences

during adolescence serves as a method of developing autonomy, as it facilitates the creation of a

generational identity that is independent of parents and teachers, and corresponds with the shift

from family to peer orientation (Hodges & Sebald, 2011). Conclusively, adolescents’ use of

music for impression management helps facilitate the transition to adulthood, as a sense of

personal identity guides interpersonal behavior and signifies optimal psychological health

(Schlenker, 1985; Waterman, 1992). LGBTQ adolescents may turn to listening to music

congruent with their sexual identity for support while growing up. Therefore, music therapy may

be an effective treatment for LGBTQ adolescents who are struggling with intolerance and need

professional support.

Due to the increased amount of research in the past 30 years on stigma against the

LGBTQ population (Sullivan, 1994), there is an increased awareness of LGBTQ youth facing an

array of problems in their respective homes, schools, and communities (e.g., Cianciotto & Cahill,

2012; Gray, 2009; Pascoe, 2007). Knowledge of their issues is critical to provide quality care for

this population. Family acceptance is a critical indicator of positive mental and physical health

for LGBTQ adolescents (Ryan et al., 2010), however, recent survey research revealed one-third

of these adolescents are experiencing family rejection and one-half report that they often hear

negative messages about being LGBTQ at home (Human Rights Campaign, 2013). Many

LGBTQ adolescents – and those who are perceived to be LGBTQ – also report verbal

harassment because of their sexual orientation or the way they express their gender (Cianciotto &

Cahill, 2012; Pascoe, 2007; Watson & Miller, 2012; Robinson, Espelage, & Rivers, 2013).

Recent survey results additionally found that more than half of LGBTQ students experience
 6

some form of cyber-bullying, four out of ten LGBTQ students have been physically harassed at

school, and one of five have been the victim of physical assault at school (Kosciw et al., 2011).

The prevalence of these issues demonstrates that these problems are a social and public health

issue, and those in health and human service professions should receive training on LGBTQ

cultural competence.

The increased dissemination of alarming statistics regarding LGBTQ youth has helped

construct “gay youth” as an at-risk identity category (Waidzunas, 2012). The LGBTQ youth

population is often associated with mental illness and suicide risk, which has made LGBTQ

youth an area of clinical investigation. According to Waidzunas (2012), Cover (2012), and others

(e.g., Essig, 2010) this is potentially problematic for queer youth insomuch as this research may

inadvertently reinforce negative stereotypes, including the longstanding associations between

queer people and mental illness (Foucault, 1978). Further, as Grzanka and Mann (2014) argue,

public discourse on queer youth suicide reveals the perception of suicide as the product of an

individual’s lack of resilience to their social challenges, such as heteronormativity and

homonegativity manifested in bullying and social exclusion. For example, the “It Gets Better”

project was a widely viewed suicide prevention Internet-based campaign that began in 2010 as a

response to the increased media attention of queer youth suicides. The goal of these videos was

to prevent suicides of gay teenagers by telling this population that their lives would improve

(Cover, 2012; Grzanka & Mann, 2014). Overall, “It Gets Better” tries to inspire hope and

encourages queer youth to wait patiently through the challenges of their youth for the “better”

life of adulthood. However, some scholars argue that this campaign narrowly focuses on

individual resilience and does not address sexuality as a system of power and inequality

(Grzanka & Mann, 2014). These queer theory-informed criticisms of advocacy grounded in
 7

spurious statistics and popular psychology have implications for therapeutic interventions with

LGBTQ youth. They suggest a therapeutic orientation that resists undefined ideas of hope in the

face of attributed vulnerability, and instead focus on understanding and negotiating systems of

oppression while providing opportunities for empowerment (cf., Goldstein, 2012; Pascoe, 2013).

Music Therapy with LGBTQ Clients

There is currently a limited amount of research on LGBTQ issues in music therapy, and

much (if not all) of the available research has been published within the last 15 years. A review

of current music therapy literature revealed little exploration of queer theoretical ideas. Though

not directly related to queer theory, the recently published music therapy articles regarding

working with LGBTQ populations demonstrate a trend towards the issues raised by queer theory.

A team of music therapists recently conducted a survey designed to explore the attitudes and

actions of music therapists regarding LGBTQ issues, and they found that over half of the 409

respondents did not have any training regarding LGBTQ issues, and a majority of those who did

have training still reported that they did not feel prepared to work with the LGBTQ community

(Whitehead-Pleaux et al., 2013). Many respondents also reported that they do not use gender-

neutral music or language and that their choices of songs for music therapy interventions were

not at all influenced by a client's sexual orientation. When working with LGBTQ clients, an

examination of a music therapist's attitude towards this population is critical because it has the

potential to provoke a dangerous countertransference. For a straight, cisgender-identified

therapist, one consequence of being a part of the dominant, heteronormative culture is the

extended amount of time it will take to build rapport with a client who identifies differently;

however, Chase (2004) suggests learning more about sexual minorities by researching their

cultures. A team of music therapists recently compiled a list of best practices with LGBTQ
 8

clients that emphasized inclusivity, creation of a safe space, preferred language, knowledge of

LGBTQ culture and music, and affirmative therapy (Whitehead-Pleaux et al., 2012). The current

literature reveals that music therapy approaches when working with the LGBTQ community are

progressing, but it also demonstrates a need for a queer theoretical framework in music therapy.

Queer music therapy would extend beyond the scope of current methods and further recognize

the complexities of sexuality and gender identity and consider LGBTQ individuals as more than

a special or niche population to be folded into business-as-usual psychotherapy. Indeed, queer

theory may suggest a sustained interrogation of the very categories and terms on which the social

science of sexual orientation and gender diversity rests (Fassinger & Arseneau, 2007; Seidman,

1997; Stein & Plummer, 1994).

What is Queer Theory?

Given the heterogeneous ways in which queer theory has been articulated, including

distinct disciplinary origins, methodological proclivities, and even political goals (Sullivan,

2003), it is important to define various queer theoretical perspectives as opposed to representing

queer theory as a monolith. Queer theory loosely refers to a field of critical theory that

challenges heteronomative ideologies by arguing that sexual identities are fluid rather than fixed.

This field encompasses numerous critical inquiries, including the queer of color critique

(Ferguson, 2003; Muñoz, 1999), studies of performativity (Butler 1990, 1993), and transgender

studies (Stryker & Aizura, 2013). These bodies of knowledge are so diverse that the field of

queer theory necessarily resists synthesis (Sullivan, 2003; Warner, 2012). “Queer” is a

historically stigmatized word that has been reclaimed by the LGBTQ community as a political

term denoting those who do not conform to traditional notions of gender and sexual identity. A

robust critique of power relationships as opposed to individual psychologies links the work of
 9

foundational queer theorists such as Foucault (1978), Sedgwick (1990, 2005), and Butler (1993).

Expanding on the notion that sexuality is produced in unequal relations of power, the “queer of

color” critique investigates the inseparable intersections of sexuality with race, gender, and class

(Johnson & Henderson, 2005; Lorde, 1984). Queer of color scholarship has posited that Black

and Latina/o bodies have historically been viewed as not only racially but sexually deviant in the

contexts of colonialism and in the legacy of White supremacy (Ferguson, 2003). Another

expansion of queer theory includes contemporary trans criticism. Trans is an umbrella term that

includes all non-cisgender gender identities, including transgender, transsexual, genderqueer, etc.

Trans studies have illuminated how representations of the transgendered body in media, science,

and everyday life reinforce cisgenderism and heteronormativity by framing gender and sexuality

in binary terms and using gender pronouns to mislabel and describe transgender individuals

(Ansara & Hegarty, 2012; Bryant, 2006; Sloop, 2004). Butler (1993) likewise challenges the idea

of “natural” gendered behavior in her theory of gender performativity, asserting that the

gendered body is characterized by public or shared repetitive acts; to Butler, gender is not a

choice per se, but produced by the social imperative to “do” gender in terms of sociohistorical

precedent. In other words, to Butler (1993), gender performance is a kind of citational practice

whereby individuals “cite” gender norms by doing gender, even when they attempt to subvert or

undermine heteronormativity (see also Butler, 1990). These modes of discourse foreground how

queer communities have embraced an ethic of radical inclusivity, in which structures are

critiqued for how they subtly reinforce oppression so as to make environments safe and

accepting of human cultural diversity. This approach contrasts with the kinds of superficial

inclusivity and diversity that seeks to incorporate different people and bodies into dominant

organizations and institutional settings that lack critical reflexivity (Ahmed, 2012). Radical
 10

inclusivity has implications for how music therapists might provide a safe and inclusive space for

transgender individuals and queer people of color within a therapeutic setting.

In order to provide therapy for sexual minorities dealing with mental health issues related

to their identities, it is critical to examine how the foundations of LGBTQ oppression are actually

linked to psychological institutions and discourses. Queer theorists explore and critique how the

medicalization and pathologization of sexuality operates as a system of power. The history of

sexuality reveals that homosexuality and heterosexuality are recent culturally constructed social

classifications of particular bodies rather than universal, “natural,” or transhistorical categories

(Hacking, 1986; Somerville, 1994). The modern concept of homosexuality, for example, evolved

from deviant or criminalized sexual behaviors (e.g., sodomy) into a form of identity (Foucault,

1978). Once seen as merely crimes or aberrations, homosexual behavior began to be observed as

an inextricable expression of a person’s identity in the late 19th and early 20th century.

Categorical conceptions of sexuality were firmly dichotomous, consisting of heterosexuality and

homosexuality (Sullivan, 2003), creating what queer theorists today conceptualize as a pervasive

system of oppression that organizes virtually all aspects of social life, including education,

medicine, the law, etc.

The discipline of sexology, or the academic study and classification of sexual bodies,

emerged in the late 19th century and relocated sexual concerns from the church’s authority

towards the domain of medicine (Bland & Doan, 1998; Foucault, 1978). Science and medicine

began investigating the “cause” of homosexuality, which was initially viewed as sexual

inversion, or a hereditary degenerative condition constituting homosexuals as “unfinished”

specimens (Terry, 1999). Scientists later posited that both nature and nurture play a role in the

development of homosexuality, an idea that continues to exist today in some psychological

 11

interventions that aim to change sexual orientation (Liddle, 2007; Sullivan, 2003; Whitehead-

Pleaux et al., 2012). The psychiatric investigation of non-heterosexual sexualities established

non-normative sexuality as a medicalized object; in the context of science and medicine, this

creates a framework, according to Foucault (1978), of the observer (e.g., the psychologist) and

the observed (e.g., the patient). Thus, working with LGBTQ adolescents in a therapeutic setting

may perpetuate oppression if the history of medicalized sexuality is not carefully considered.

This historical context illustrates the potential risks of putting LGBTQ adolescents under the

disciplinary microscope of music therapy. However, since queer theory challenges

heteronormative discourse and emphasizes the fluidity of sexuality, queer theoretical

perspectives provide a lens to think through these challenges and highlight therapeutic methods

focused on empowerment.

LGBTQ Identity Development

The growing multidisciplinary literature addressing the ways in which sexual orientation

develops through childhood and adolescence is pertinent to working with LGBTQ adolescents.

Many of these youth struggle through this complicated process. Furthermore, the coming out

process is also fraught with potential challenges to mental health, not the least of which is the

process of transitioning from a majority identity to a minority identity. Queer theorists advocate

a rethinking of sexual and gender nonconformity in order to challenge the concept of “normal”

itself (Stein & Plummer, 1994). Within the field of queer theory, most scholars conceptualize

gender and sexuality as continuous and fluid, rather than as a static binary (Butler, 1993;

Foucault, 1978; Sullivan, 2003). Heterosexism may hinder sexual orientation identity

development because it forces clients into the role of the "other," but foregrounding queer
 12

theorists' ideas when working with LGBTQ adolescents can minimize heterosexist assumptions

(Brown, 1996; Garnets et al. 1991; Matthews, 2007; Reynolds, 2003).

Queer theories of sexual orientation identity development provide a framework for

assessments and treatment planning. Assessing sexual orientation identity development is

important for understanding the influence of an individual's sexual orientation on their presenting

problems (Haldeman, 2007; Matthews, 2007). Accordingly, the amount of influence of sexuality

on self-perceived identities varies between individuals (Sedgwick, 2005). LGBTQ sexual

identity development models typically include the following common themes: identity confusion

and questioning, finding and creating identity labels, acceptance of identity, and resolution and

maintenance of identity (Bradford, 2004; Brown, 2002; Collins, 2000; Potoczniak, 2007;

Weinberg, Williams, & Pryor, 1994). Socialization facilitates this developmental process;

however, queer youth may not have access to community-building tools if they are still in school

or living at home (Liddle, 2007; Oswald & Culton, 2003). This highlights the importance of

using techniques that positively impact interpersonal relationships, because positive group

experiences can counteract the negative social pressures that may be contributing to identity

confusion. When the development of a positive sexual orientation identity is interrupted, queer

theory can help direct attention toward structural barriers (i.e., heterosexism) rather than

individual differences or psychopathologies. Accordingly, this focus on structural power

dynamics makes queer theory a potentially efficacious paradigm for helping adolescents through

this developmental process.

Where Music Therapy and Queer Theory Meet

Although there is very little music therapy literature specifically addressing queer theory,

the recent literature on anti-oppressive music therapy practice provides implications for a queer

music therapy paradigm, because it attends to music’s capacity to connect individuals with
 13

stigmatized identities. Anti-oppressive practice emphasizes that societal power imbalances, (e.g.,

sexism, heterosexism, racism) and personal struggles are inextricably connected (Baines,

2013). Although anti-oppressive music therapy practice is still nascent, music therapists have

started exploring how this paradigm can promote social justice by using music to encourage

positive relationships and supportive social networks among stigmatized groups (Baines,

2013; Crowe, 2004). Another suggestion for anti-oppressive music therapy practice is to be

aware that music has social functions that can unconsciously perpetuate oppression (Adrienna,

2006). To illustrate anti-oppressive practice in relation to music, Bennett (2000) suggests that

music can act as a vehicle for oppressed youth to collectively communicate hegemonic struggle.

For example Beadle (1993) argues that rap music empowers African-American youth to assert

anger, pride, self-worth, and their African-American identity. Thus, music may likewise enable

queer youth to also express their unique internal and external conflicts. 

Feminism and Queer Theory

There is a strong link between queer theory and feminist theory (Brown, 2004; Hahna,

2013), because both address the nature of power imbalances and oppression based on gender or

sexual identity. Exploring feminist perspectives in music therapy has revealed that some music

therapists have various methods of addressing power imbalances. Adrienna (2006) asserts that

music therapy processes and relationship dynamics are not free from cultural constructions and

that music used in therapy may inadvertently reinforce oppressive ideologies. Her feminist music

therapy principles can complement a queer theoretical framework by challenging not only

sexism, but also challenging heteronormativity and the gender binary in music. Awareness of

social inequalities is critical in music therapy because eliding social relations in music therapy

repertoire may contribute to harmful power systems by reconfirming a client's label, stigma, and

social position within the musical experience. O’Grady & McFerran (2006) emphasize a feminist
 14

approach in community music therapy because it emphasizes therapy as something clients "do,"

as opposed to therapy being done "to" them or "for" them. In this framework, roles are

reconfigured so that therapy is conceptualized as mutual empowerment between client and

therapist (Jordan & Hartling, 2002). This paradigm does not imply that the power balance is

equal or nonexistent, as queer theorists assert that power relations are everywhere (Foucault,

1978), but it advocates a therapeutic relationship based on mutual empathy, emotional

authenticity, openness to change and difference, and a connection that can be constructed

regardless of abilities, or in this case, sexual or gender identity (Rolvsjord, 2006a; Sprague &

Hayes, 2000).

Some music therapists have started critiquing traditional dominant structures in music

therapy, and as a result, there is currently a resurgence of the Community Music Therapy model

(Aigen, 2005; Baines, 2013; Rolvsjold, 2006b). Many music therapists are starting to move

beyond work on individual problems and instead are working towards strengthening entire

communities (Ruud, 2004; Vaillancourt, 2012). Because this approach promotes social justice,

Community Music Therapy may have implications for a queer music therapy paradigm.

However, some queer theorists have critiqued the notion of community as problematic for queer

individuals because it emphasizes commonality and an idealized sense of harmony (Nancy,

1991; Phelan, 1994; Sullivan, 2003; Young, 1986). Instead, they advocate for a queer community

model that supports productive differences and diversity (Secomb, 1997), rather than superficial

inclusion or tolerance (Ahmed, 2006, 2012; Epstein, 2007). An acknowledgement of mutual

(nondominant) differences can act as forces for social change, and notions of community do not

have to ignore differences (Lorde, 1984). Consequently, “queering” the Community Music

Therapy model would entail using music to simultaneously build relationships and recognize
 15

diverse, fluid, and individual identities. Vaillancourt (2012) advocates for a community music

therapy model that promotes social justice by focusing on themes of acceptance and emphasizing

inclusiveness, interdependence, and equal participation. These guidelines have implications for

LGBTQ adolescents because these youth commonly experience exclusion from peers (Human

Rights Campaign, 2013). Accordingly, an analysis of both queer critiques of "community" and

social justice-focused community music therapy may provide the foundation for music therapy

approaches with LGBTQ adolescents.

Queering Music Therapy

Theoretical Orientation

Music is highly influential during adolescence and is also used as a medium to construct

identity (Tarrant, North, & Hargreaves, 2002). Therefore, an anti-oppressive music therapy

informed by queer theory may be efficacious for working with LGBTQ youth, a population that

faces marginalization and discrimination in personal interactions and society at large. This

oppression may lead to issues with social and personal identity development, as well as other

psychological problems, including internalized oppression. For this reason, there are many

existing support groups in school systems and communities for youth who have conflicts with

their parents or have developed mental health issues. Not all youth who identify as LGBTQ

require therapeutic remediation, especially if they have familial or other social support.

However, research indicates that many LGBTQ individuals currently need therapeutic support

due to experiences of prejudice and internalized heterosexism (Carter, Mollen, & Smith, 2014).

Therefore, music therapists working in mental health settings are likely to encounter LGBTQ

individuals in their practice, or social justice-oriented music therapists may seek out

opportunities to support LGBTQ youth in school or community settings.

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To advance anti-oppressive music therapy approaches with this population, the

theoretical orientation of this project is grounded in queer theory literature. Based on findings

from the interdisciplinary literature review, a queer music therapy would:

1) combat heteronormativity by emphasizing the complexity and fluidity of sexual

orientation,

2) support expression of unique personal and social conflicts due to oppression,

3) empower queer individuals to find strength in differences by freely expressing and

performing their gender and sexual identity,

4) positively impact interpersonal relationships to counteract negative social pressures

5) emphasize common cause rather than commonality of identity

Because music is a means of communication (Peters, 1987; Sears, 1968), it can construct

knowledge of sexuality within music therapy experiences. This implies that music can

potentially be oppressive to LGBTQ populations because some music reinforces heterosexism

and the gender binary. However, a music therapy program using a queer theory paradigm to

frame interventions can combat heteronormativity by changing the language of music to consider

the complexity and fluidity of sexual orientation. As an example, a music therapy intervention

can allow flexibility of language to match clients’ gender or sexual identity.

Music can also be used as a purely nonverbal form of communication (Peters, 1987).

Music-making techniques can be implemented to allow LGBTQ clients to nonverbally express

emotions towards societal discrimination, safely express their identity, and receive validation

from the therapist or others in a music therapy group. Further, an expansion of Butler’s (1993)

assertion that the gendered body is performative suggests music is a potential medium for

performing gender and sexual identity. According to Ruud (1998), performing, listening to, and
 17

talking about music are all methods of performing personal identity. Thus, participating in music

therapy can affirm an individual’s identity by allowing a client to: determine the language of

their music, talk critically about LGBTQ music, and perform music in a manner that affirms their

identity. Queer theory emphasizes the deconstruction of language, and applying this concept to

music therapy prompts a deconstruction of music itself. However, to further advance this idea for

the broader goal of promoting social justice and health among LGBTQ youth, music therapy

within a queer theoretical framework may facilitate a reconstruction of language and the

initiation of community programs focused on a common cause – rather than commonality

(Lorde, 1984) – with others who experience sexual and gender stigmatization. Accordingly, this

paradigm emphasizes affirmation and empowerment around issues specific to LGBTQ

individuals.

Goals and Considerations

When working with queer youth who are in the process of developing their identity, it is

critical to affirm all dimensions of their social identities throughout therapy, including their

sexual orientation and gender identity. A music therapist can achieve this by using appropriate

terminology (including preferred gender pronouns) and demonstrating cultural sensitivity during

interventions. In addition to using appropriate gender terminology during therapy, it is critical to

use preferred gender pronouns in clinical documentation, as opposed to misgendering clients

with the sex they were assigned at birth. This demonstrates a commitment to rethinking the

dominant ideologies of gender and supports clients’ differences (Ansara & Hegarty, 2012; Sloop,

2004). A music therapist can also create a safe space by: not tolerating bullying, hate speech, or

sexual-gender microaggressions and by naming and challenging such behaviors where they

inevitably occur; avoiding assumptions about client’s sexual orientation and/or gender
 18

expression while simultaneously recognizing that we all – regardless of our sexual or gender

identities – carry these assumptions as part of our acculturation into a heterosexist, cisgenderist

society; respecting a client’s right to privacy (and whether or not they are “out” about their

identity); and demonstrating an open and affirming attitude (Whitehead-Pleaux et al., 2012). The

musical experience itself also facilitates a safe therapeutic environment, because the wordless

meanings of music help emotional expression when words alone have failed (Gaston, 1968). The

most important consideration of working with LGBTQ youth is to create a safe space for all

clients while acknowledging that many LGBTQ youth may have learned that few such spaces

exist for them.

Based on the theoretical framework developed in the literature review, the following

goals may be appropriate for this population: support gender identity and expression, improve

self-esteem and self-image, promote a sense of control over life (Carter, Mollen, & Smith, 2014),

affirm differences and celebrate diversity, combat heteronormativity and cisgenderism, improve

group cohesion, facilitate emotional expression and identity expression, and promote

empowerment.

Music Therapy Interventions

To provide queer theory-informed music therapy, a variety of music therapy interventions

can be facilitated. These interventions using the above theoretical orientation can promote self-

esteem, coping skills, and empowerment for LGBTQ youth experiencing issues related to their

identity, including: musical autobiographies, songwriting, lyric analysis, music and creative arts,

and group anthem-writing. Each of these interventions is discussed below.

Musical Autobiography Assessment

 19

For initial assessments with LGBTQ youth music therapy clients, it is important to assess

musical interests and preferences, psychosocial functioning, emotions (American Music Therapy

Association, 2013; Hanser, 1999) and where clients are in their sexual orientation and gender

identity development. Adolescents, in particular, often use music as a tool to express and

formulate identity (Tarrant, North, & Hargreaves, 2002), which highlights why it is especially

important to assess musical interests and preferences during assessment. Assessing musical

preferences is also critical for the development of an intervention plan because it provides

implications for song choices.

A musical autobiography intervention is an effective method to gain a holistic picture of a

client’s needs in music therapy. In this therapeutic process, clients are prompted to brainstorm

songs representative of their past, present, and expected future. Then, clients are asked to share

the tracks on their list, select one song to listen to, and process the experience with the music

therapist and group. This intervention allows music therapists to record musical interests and

preferences, evaluate psychosocial functioning based on self-report and social behaviors, and

document indicators of emotional functioning. Particular psychosocial areas that should be

evaluated are self-awareness, self-concept, self-esteem, participation, and interpersonal skills.

Emotional functioning should also be evaluated, including affect, feelings, and emotional

awareness. For LGBTQ adolescents, assessing sexual orientation and gender identity

development is critical because it is indicative of need areas for this population (Matthews,

2007).

To “queer” this intervention and affirm LGBTQ adolescents’ identities, a music therapist

should prompt clients to consider their sexual orientation and gender identity in their musical

autobiographies. This will provide an opportunity for clients to rethink gender and sexual
 20

identity nonconformity and for the music therapist to acknowledge the fluidity of identity

expressed in the language or musical elements of their song choices (Stein & Plummer, 1994).

By emphasizing sexual orientation and gender identity in this assessment, LGBTQ adolescents’

song choices may reflect how they are experiencing stigma and oppression – and the different

ways these clients negotiate and cope with discrimination and prejudice in their everyday lives.

A music therapist should also acknowledge the differences between the identities of each client

and be careful to recognize the tremendous diversity among sexual minorities and gender

nonconforming individuals, who (as a group) are just as heterogeneous as cisgender

heterosexuals (Secomb, 1997; Sullivan, 2003; Lorde, 1984; Vaillancourt, 2012). A “queer”

version of a musical autobiography can provide opportunities for assessment, emotional

processing, identity affirmation, and empowerment in ways that resist rather than reinforce

heteronormativity.

Gender Bender Song Parodies and Performance

In music therapy, songwriting functions as an expressive outlet for clients to explore

underlying issues (Wigram & Baker, 2005). As an introduction to the songwriting process, music

therapists may facilitate a basic songwriting exercise called a song parody (Cassity & Cassity,

1998). Song parody interventions involve rewriting lyrics of songs based on therapeutic themes,

and using an existing song helps a client feel safer when sharing their lyrical ideas. These

exercises typically involve listening to a song with its original lyrics, and then instructing clients

to write their own words on “fill-in-the-blank” lyric sheets. Once they fill in their own lyrics, the

new version, or song parody, is performed. Clients should also be encouraged to sing along if

they are comfortable. Used within this context, a music therapist can help clients process the

relationship of the product (the re-written song) to their identity. LGBTQ clients may benefit
 21

from writing a parody with the assistance of a music therapist because they have the freedom to

change gender pronouns in their own preferred music and sing lyrics reflecting either their

gender or sexual identity. In this sense, a music parody exercise may enable LGBTQ youth to

engage in subtle acts of political empowerment and resistance of heteronormativity through a

classic form of queer theory-informed politics – what Stein and Plummer (1994) call the politics

of camp and carnival. Another “gender-bender” intervention could involve teaching a client one

of their preferred songs that is originally sung by someone of a different gender.

This intervention supports the goals of improving self-esteem and promoting a sense of

control over life (i.e., locus of control) because it provides an opportunity for self-expression

(Carter, Mollen, & Smith, 2014). The client has the freedom to change gender pronouns in music

to fit their identity, and this is beneficial for them, especially since they may not have the

freedom to express their gender or sexual identity outside of the session. The nature of the

intervention itself combats heteronormativity because a client has the power to choose their

gender pronouns, and their gender is thus not assumed. When a group and/or therapist validate a

client’s self-expressions, it can help support gender identity and affirm identity. Performing the

song after doing a gender-bender can also improve self-esteem by allowing the client to achieve

success in a therapeutic process (Sears, 1968), amid a culture that emphasizes their capacity for

failure (Halberstam, 2011). This intervention ultimately allows clients to reconstruct language in

music to fit their personal identity and allows them to relate to others in a group setting.

Transitions (Music and Creative Arts)

Creative arts interventions permit individuals to express their thoughts and feelings

beyond verbal communication (Robbins & Sibley, 1976). When facilitating this type of

intervention within the context of music therapy, music is played or performed while clients
 22

create art, and the music is chosen to evoke a response from participants. For this intervention,

clients are provided with art materials and instructed to sit at a table. Each client receives 3 blank

sheets of large cardstock paper and are asked to write their name and preferred gender pronoun

on the back of each sheet of paper. This motivates participation because writing their names

artistically “breaks the ice,” and the sheet of paper becomes their own personal canvas. The

clients are told that the canvases represent the past, present, or future, as providing structure

helps motivate participation, especially for adolescents.

For the first canvas, they are told to explore the paths they have encountered in regards to

their LGBTQ identity by listening to the first song and focusing on how the music makes them

feel about their past. A music therapist should emphasize that there is no right or wrong response

in this process, and that they may draw freely or write words in their picture. Clients are asked to

share their artwork after each drawing. For the second canvas, clients are told to let the music

guide them while they complete a second drawing to represent the present. For the third and final

canvas, clients are asked to think about what they want from society, their family, or their

community in the future. As a closer, clients are asked to state one word that describes what they

want in their future. Music combined with creative arts processes provides the opportunity for

clients to reflect and construct personal meanings, and the prompt of considering the past,

present, and future facilitates a critical analysis of the self.

Critical Lyric Analysis

For lyric analysis interventions, music therapists facilitate a dialogue among clients based

upon the lyrical content of the song. This type of intervention can be used to facilitate thematic

music therapy and build therapeutic rapport (Silverman, 2009). Within a queer theoretical

paradigm, a music therapist’s role in this group is to ask questions to prompt a critical analysis of
 23

songs and help clients verbally process how the song relates to their own identity and their

experiences of prejudice and discrimination.

An example of a critical lyric analysis would be a song comparison between Same Love

by Macklemore and Ryan Lewis featuring Mary Lambert (Macklemore & Lewis, 2012, track 5),

and Angel Haze’s re-written version of the song (Fambrough, n.d.) (see appendix for lyrics and

dialogue prompts). The critically acclaimed song Same Love has gained a reputation as an

anthem for the LGBTQ movement since its release in 2012. Some sources report that it is

socially relevant and empowering for the movement because it supports equality for the gay

community (Mincher, 2014; Mlynar, 2013). The song has also simultaneously been the subject

of much criticism. Some critics point out that within the song’s lyrics, Macklemore and Lewis

promote mere passive acceptance of the gay community, and focuses on homophobia in a black

community space as opposed to acknowledging the pervasiveness of homophobia everywhere

while not acknowledging his own white, heteronormative privilege (Ambrosino, 2014; Nichols,

2013; Stephens, 2013).

Approximately one year after the song’s release, rapper Angel Haze, who has previously

identified as pansexual (Hoby, 2012), freestyle rapped over Macklemore and Lewis’s Same Love

beat. They rap about their own experiences with prejudice and they quote Andrea Gibson’s poem

titled “Andrew” (Gibson, 2011), which acknowledges the fluidity of sexuality:

No, I'm not gay

No, I'm not straight

And I sure as hell am not bisexual

Damn it I am whoever I am when I am it

 24

Loving whoever you are when the stars shine

And whoever you'll be when the sun rises

In addition to using Same Love as a lyric analysis, a follow-up song-writing intervention can also

be facilitated. Music therapists can assist clients in writing their own versions of the song, using

their own experiences and beliefs about identity to guide their writing. This can also function as

a product-oriented intervention, where clients can perform and record their personal versions of

the song.

Group Anthem Writing

Group process, which refers to the dynamic interactions of a group (Yalom, 1975), is a

critical element of music therapy for LGBTQ adolescents because of their marginalized

position(s) in society. One method of supporting group process is facilitating engagement in a

constructive and supportive intervention focused on enhancing group cohesion. A group

songwriting music therapy intervention facilitates the enhancement of group cohesion, in

addition to increasing emotional expression, decreasing feelings of isolation, and reinforcing

identity and self-concept (Edgerton, 1990). A group of LGBTQ adolescents can benefit from

writing a group anthem and performing the anthem at the beginning of every session. The

anthem should address the differences within the group while still emphasizing inclusiveness. It

can also be geared towards queer identity in general and the goals of the therapy program. The

music therapist should assist the group by helping clients with the aesthetic aspects of the song

and helping the group verbally process what they want to express in the song’s contents. This

provides an opportunity to construct their own image of their group identity, and then perform

their identity using music. Using this song at the beginning of every session also establishes a
 25

structure for the music therapy program. This intervention is both process and product-oriented,

thus providing a sense of accomplishment for the group.

Conclusion: Toward a Radically Inclusive Music Therapy

This theoretically informed praxis outlined above describes “queer music therapy”

practice with LGBTQ adolescent clients. Many LGBTQ adolescents battle pervasive stigma in a

multitude of settings, including mental health institutions, which indicates a need for anti-

oppressive music therapy techniques grounded in queer theoretical perspectives. Evidence of the

strong impact of music on identity development during adolescence provides a rationale for

music therapy with this population, and the theoretical concepts examined in this paper highlight

the efficacy of a music therapy program grounded specifically in queer theoretical perspectives.

Queer theoretical perspectives have been criticized as jargon-laden and unintelligible (Duggan,

1994; Norton, 2002), but the application of these perspectives to music therapy can render these

abstract concepts into tangible reality, including the lived experiences of LGBTQ individuals in a

heterosexist, cissexist society. This type of critical inquiry can be applied to existing and future

popular music focusing on LGBTQ issues. The theoretical ideas developed here establish the

foundations of a music therapy paradigm that is not only geared towards LGBTQ clients, but is

based in anti-heterosexist knowledge and practices. Inspired by generations of queer theorists

and activists, we have proposed not simply a therapy for queer clients, but a queer therapy (Stein

& Plummer, 1994).

This theoretical framework advances a conceptual model of queer music therapy that

emphasizes opportunities for empowerment as opposed to assuming vulnerability and/or “fixing”

LGBTQ individuals. Rather than promoting adjustment to a dysfunctional culture (e.g., a null

environment (Betz, 1989)), the theoretical orientation of these interventions encourages LGBTQ
 26

youth in particular to overpower oppression and discrimination. Deconstructing hegemonic

systems of power within popular music transmits the ability to work through systematic

oppression beyond the music therapy session. Then, with the assistance of a music therapist,

queer youth can further battle the heteronormative patriarchy by writing their own music and

reclaiming their silenced voices. Queer theorists assert that power exists everywhere, and

critically examining how these systems exist within the safety of a music therapy session imparts

youth with the ability to resist and overcome discrimination.

Synergizing queer theories with the principles of community music therapy suggests a

therapeutic orientation based on the fluidity of sexuality and gender performance, mutual

empathy, openness to individual differences, and interpersonal connections made across

differences and similarities of gender, sexuality, race, and other dimensions of identity. From this

perspective, music therapy becomes a dynamic process where clients and their music therapist

engage in therapy together as opposed to therapy being done “to” them or “for” them. Queer

music therapy then aims to offer a safe space for clients to musically express their LGBTQ

identities openly, embrace differences (rather than emphasize sameness), acknowledge systemic

oppression (rather than minimize or disregard the reality of LGBTQ marginalization), and

celebrate their individuality and group identities. A queer and social justice-focused community

music therapy model would also welcome the participation of straight allies to foster radical

inclusivity within a community (Grzanka, Adler, & Blazer, 2015).

Even with the deficit of music therapy literature addressing queer theory specifically, this

interdisciplinary survey reveals opportunities for future contributions to queer music therapy

from a multitude of academic fields. Though the scope of this project is currently limited to

theoretical inquiry, the next step is be to produce qualitative data by developing more
 27

interventions grounded in queer theoretical perspectives, facilitating these interventions for

LGBTQ youth, and analyzing the outcomes on the mental health of music therapy clients. Even

though such systematic empirical research remains nascent in other counseling fields

(Mallinckrodt, 2009), this is essential subsequent action because of the emphasis on evidence-

based clinical practice in music therapy (American Music Therapy Association, 2005). There is

currently a trend in music therapy literature toward a focus on LGBTQ issues, which highlights

the value of this kind of critical inquiry and the profound implications it has on the future of

music therapy with this population. Finally, our proposal for a radically inclusive queer music

therapy is a call to action for music therapists currently working with or considering working

with this population – not to mention those therapists who may find themselves unexpectedly

encountering a sexual minority or gender nonconforming client. Future work in this area is not

limited to early-career music therapists, but should be a priority for professionals/clinicians at all

career stages. These professionals can gain the appropriate training by reading pertinent journal

articles and participating in LGBTQ continuing education courses at national and regional

conferences. The flexible nature of music therapy facilitates an intermodal approach to

challenging the concept of normal and fixed identities. By creating a safe space, analyzing

systems of oppression, and using that knowledge to provide opportunities for empowerment,

queer music therapy may become a force of positive change for LGBTQ adolescents.

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Appendix
“Same Love” by Macklemore
(Verse 1)
When I was in the 3rd grade
I thought that I was gay
Cause I could draw, my uncle was
And I kept my room straight
I told my mom, tears rushing down my
face
She's like, "Ben you've loved girls since
before pre-K"
Trippin', yeah, I guess she had a point,
didn't she
A bunch of stereotypes all in my head
I remember doing the math like
"Yeah, I'm good in little league"
A pre-conceived idea of what it all meant
For those who like the same sex had the
characteristics
The right-wing conservatives think it's a
decision
And you can be cured with some
treatment and religion, man-made
rewiring of a predisposition
Playing God, ahh nah, here we go
America the brave
Still fears what we don't know
And God loves all His children
And somehow forgotten
But we paraphrase a book written
35 hundred years ago
I don't know
[Hook: Mary Lambert]
And I can't change even if I tried, even if
I wanted to
And I can’t change even if I tried, even if
I wanted to,
My love, my love, my love
She keeps me warm, she keeps me warm
She keeps me warm, she keeps me warm
41
“Same Love” (Freestyle) by Angel Haze
(Intro)
Hi Mom
I’m really scared right now, but I have to
(Verse 1)
At age thirteen, my mom knew I wasn’t
straight
She didn’t understand, but she had so much
to say
She sat me on the couch, looked me straight
in my face
And said you’ll burn in hell or probably die
of AIDS
It’s funny now, but at thirteen it was pain
To be almost sure of who you are and have it
ripped away
And I’m sorry if it’s too real for some of you
to fathom
But hate for who you love is not exactly what
you’d imagine
And I guess it was disastrous
Because everything that happened afterwards
was just madness
Locked away for two years to keep me on the
inside
Because she’d rather see a part of me die
than me thrive
And it’s tougher when it’s something you
can’t deny
And ignorance teaches us it’s something you
decide
You’re driven by your choices, an optical
illusion
Here’s to understanding it’s not always
confusion
[Hook: Mary Lambert]
And I can’t change even if I tried, even if I
wanted to
And I can’t change even if I tried, even if I
wanted to
My love, my love, my love
She keeps me warm, she keeps me warm
She keeps me warm, she keeps me warm

[Verse 2]
If I was gay, I would think hip-hop hates
me
Have you read the YouTube comments
lately
"Man that's gay" gets dropped on the
daily
We've become so numb to what we're
sayin'
Our culture founded from oppression
Yet we don't have acceptance for 'em
Call each other faggots
Behind the keys of a message board
A word rooted in hate, yet our genre still
ignores it
Gay is synonymous with the lesser
It's the same hate that's caused wars from
religion
Gender to skin color
Complexion of your pigment
The same fight that lead people to walk-
outs and sit-ins
Human rights for everybody
There is no difference
Live on! And be yourself!
When I was in church
They taught me something else
If you preach hate at the service
Those words aren't anointed
And that Holy Water, that you soak in,
Has been poisoned
When everyone else is more comfortable
Remaining voiceless
Rather than fighting for humans
That have had their rights stolen
I might not be the same
But that's not important
No freedom 'til we're equal
Damn right I support it
I don't know
42
[Verse 2]
I’ve walked the halls of my school
And I’ve seen kids hide behind walls and
footballs and things like pride
I’ve seen innocent children suffer beneath
bruises
Suffer beneath every single hand that
chooses
Ignorance, f--k your religion
F--k constitutions, f--k superstitions
There are no lakes of fire; they’re here on
earth
And the only thing to do is put love first
And so I stand for the boy who died by his
hand
To the sound of his father screaming “woman
loves man”
This is Adam and Eve, not Adam and Steve
And I stand for the girl with the cuts up her
sleeve
And the heart in her hand and a chip on her
shoulder
And I stand for it all until ignorance is over
This is for you, for knowing who you are
For never letting your magic outside of your
heart
Be you, be brave
And understand that things do change
I accept you for you when I don’t understand
And I love you for you cause this is who I am
I accepted you for you when I didn’t
understand
Now love me for me cause this is who I am
[Hook: Mary Lambert]

[Hook: Mary Lambert]
And I can't change even if I tried, even if
I wanted to
And I can’t change even if I tried, even if
I wanted to,
My love, my love, my love
She keeps me warm, she keeps me warm
She keeps me warm, she keeps me warm
[Verse 3: Macklemore]
We press play
Don't press pause
Progress, march on!
With a veil over our eyes
We turn our back on the cause
'Till the day
That my uncles can be united by law
Kids are walkin' around the hallway
Plagued by pain in their heart
A world so hateful
Someone would rather die
Than be who they are
And a certificate on paper
Isn't gonna solve it all
But it's a damn good place to start
No law's gonna change us
We have to change us
Whatever god you believe in
We come from the same one
Strip away the fear
Underneath it's all the same love
About time that we raised up
[Hook: Mary Lambert]
And I can't change even if I tried, even if
I wanted to,
And I can’t change even if I tried, even if
I wanted to,
My love, my love, my love
She keeps me warm, she keeps me warm
She keeps me warm, she keeps me warm
43
And I can't change even if I tried, even if I
wanted to,
And I can’t change even if I tried, even if I
wanted to,
My love, my love, my love
She keeps me warm, she keeps me warm
She keeps me warm, she keeps me warm
[Verse 3]
Here’s a message to the people who just
don’t get it
Love is love, there is no difference
Not a medication to fix it, there is no
prescription
No rehab to visit, it is not an addiction
It’s love and it’s selfless
It’s yours and everybody else’s
So don’t badger and abuse the solemnly
defenseless
See us as yourself, there’s no equality in
difference
Until we all get it, we’ll be drowning in the
same blood
Despite orientation, we all feel the same love
We’ll be drowning in the same blood
Despite orientation, we all feel the same love
[Hook: Mary Lambert]
And I can't change even if I tried, even if I
wanted to,
And I can’t change even if I tried, even if I
wanted to,
My love, my love, my love
She keeps me warm, she keeps me warm
She keeps me warm, she keeps me warm

[Outro: Mary Lambert]
Love is patient, love is kind
Love is patient (not cryin' on Sundays)
Love is kind (not cryin' on Sundays) [x5]
44
[Verse 4]
We are boxed in and labeled
Before we're ever able to speak who we
believe we are
Or who we dream we'll become
Like drum beats forever changing their
rhythm
I am living today as someone I had not yet
become yesterday
And tonight I'll only borrow pieces of who I
am today
To carry with me to tomorrow
No, I'm not gay
No, I'm not straight
And I sure as hell am not bisexual
Damn it I am whoever I am when I am it
Loving whoever you are when the stars shine
And whoever you'll be when the sun rises
So here's to being able
Here's to love
Here's to loving just because
Here’s to acceptance
Here’s to never fearing the fear of rejection
Here’s to love and never neglecting who you
feel you are
Here’s to bullies because beatings cannot last
forever
Here's to the moment you realize things do
get better
Here’s to the parents who will get it when its
too late
Here’s to second chances, here’s to new fate
Here’s to every single moment you’ve ever
had to hide you
Here’s to the single star shining bright inside
you, asking you to guide you
Here’s to who you’ll be when you figure it
all out
Here’s to momentary doubt
Here’s to feeling, because we all feel it the
same
Here’s to the moment that things will change
Because we all feel love, we all feel it the
same
Here’s to love, here’s to change
 45

Dialogue Prompts:
1) What are the stereotypical characteristics of the social constructions of gender and sexual
orientation that Macklemore names?
2) Why do you think Macklemore, as a child, cried when he thought he was gay?
3) Which lines in Macklemore’s version do you agree with? Are there any lines you
disagree with?
4) Macklemore’s song has earned him awards and recognition as a leader of the LGBTQ
rights movement. Do you think this is beneficial or problematic?
5) What are the major differences between Macklemore and Haze’s versions of the song?
6) Why do you think Angel Haze chose to freestyle over the beat of “Same Love” instead of
writing a new, original song?
7) Where in the song does Haze move from anecdote to argument?
8) Are you able to relate any lines in Haze’s version to your own experiences identifying as
queer?