"Supermodel" music video--RuPaul

Beyond the Binaries...
RuPaul literally uses hir transgendered, racialized, and sexualized body to disrupt the dichotomous construction of social categories. First and foremost, s/he demonstrates the multiplicity and flexibility of genders by rejecting the idea of having to choose between identifying as a man or a woman. In essence, hir physicality demonstrates the point that "the most critical resistance strategy for disempowered groups is to occupy and defend a politics of social location rather than to vacate and destroy it" (Crenshaw, 375). Taken with Rupaul's subtle illustration of race and class as important factors influencing hir social location, it would appear that s/he is ultimately trying to illuminate a) the fluidity of gender and b) the diversity of black and trans experience (Hall).

Furthermore, hir adornment of a blonde wig raises interesting questions about the distinction between traditional "white" standards of beauty and "black" standards of beauty. For example, is Rupaul unwittingly validating the so-called "dominant" group's equation of blondeness with physical attractiveness? Or is the wig a subversive prop designed to challenge and reconfigure traditional American standards of beauty? If the latter question is more accurate, then Rupaul is cleverly demonstrating for hir audience how "beauty" is ideologically applied to certain segments of the population.

Conversely, Rupaul affirms the constructed nature of race, gender, and sexuality, particularly through hir presentation of class/wealth. For example, hir exaggerated walk, elaborate hairstyles, and montage of outfits all symbolize a highly glamorized portrayal of "supermodel" feminine beauty. This enactment leaves in tact those stereotypes of female supermodels, and by association, drag performers as the ultimate, idealized images of womanhood. Furthermore, it does nothing to challenge the stereotypes characterizing maleness OR femaleness.

Also, consider the relationship between Rupaul's (trans)gender, sexuality, and class. This particular cultural text could be construed as further validation of the stereotype that gay males, especially gay male drag performers, are preoccupied with superficial symbols of status, wealth, and beauty (hint: check out the hair, the fashion, the superstar treatment/behavior depicted throughout the video).

Ironically, Rupaul both defends and undermines hir "politics of social location."

Question: In what other ways do you see Rupaul going beyond or maintaining binaries? How do race, class, gender, and sexuality converge in your examples?
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