True Loves, Dark Nights: Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright
Bibliographic record
Abstract
This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright's (b.1973) album All Days Are Nights: Songs for Lulu (Decca, 2010).Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Québécoise singer/songwriter Kate McGarrigle.The album, performed as a classical song cycle, stands out amongst Wainwright's musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles.More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music.I argue that Wainwright's performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries.In this sense, Wainwright's artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes.Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright's vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space.In this study, I examine the song cycle form, Wainwright's musical score and vocal performance, live performance videos, and fan reactions to live performances in order to identify meaningful moments where Wainwright's musical and performative decisions queer audience expectations.While these musical moments contribute to the already rich and varied lineage of the gay male artist in both classical and popular music, I argue that Wainwright's queer performativity and nontraditional musical choices speak to larger issues important to American culture in the iv contemporary moment.These issues include the visibility of male public mourning and the healing power of artistic expression in the face of traumatic loss.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.028 | 0.024 |
| Scholarly communication | 0.008 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.003 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".