New Orleans bounce music is a dance-oriented hip-hop form that has emerged as a notably non-normative genre, in which queer Black bounce artists destabilise binary cultural paradigms and emphasise queerness as inclusive and relational. We explore how five artists' lyrics and public personae actively refute the consolidated, naturalised nexus of gender, sex, and sexuality by disentangling each of the three strands from one another. In order to explore how this is accomplished, we created a corpus of bounce lyrics. We analysed lexical indices of gender; self-positioning as feminine subjects; sexual subject-object positioning; normalisation of sex between men; retention of masculine subjectivities; and rejection of gender binarism. Further, the artists repeatedly expose the ubiquitous nature of sex between men in their lyrics, working to assert its existence and normalcy in the popular imagination. The bounce artists we analyse expose and articulate forms of deviance, expressing a blackness and queerness that insists on making visible the humanity and sexuality of Black people and queer people. Bounce music, made by queer people of colour, for an audience of predominantly poor, heterosexual women of colour, is a communitarian cultural labour.

中文翻译：

---

“她不需要任何帮助”：在新奥尔良反弹音乐中解散性别、性和性欲

新奥尔良弹跳音乐是一种以舞蹈为导向的嘻哈形式，已成为一种明显的非规范流派，其中酷儿黑人弹跳艺术家破坏了二元文化范式的稳定，并强调酷儿是包容性和相关性的。我们探索了五位艺术家的歌词和公众人物如何通过将三股线中的每一条分开来积极反驳性别、性和性行为的统一、自然化的联系。为了探索这是如何实现的，我们创建了一个弹跳歌词语料库。我们分析了性别的词汇索引；自我定位为女性主体；性主客体定位；男性之间的性行为正常化；保留男性主体性；并拒绝性别二元主义。此外，艺术家们在歌词中反复揭露男人之间性爱无处不在的本质，努力在大众的想象中维护它的存在和常态。我们分析的弹跳艺术家揭露并阐明了各种形式的偏差，表达了一种黑色和酷儿，坚持让黑人和酷儿的人性和性行为可见。由有色人种酷儿创作的弹跳音乐，主要面向贫困的异性恋有色人种女性，是一种社区文化劳动。