The Questionable Progressiveness Sissy Bounce

Some have identified a subgenre within bounce, called sissy bounce. The reason I say some is because others (maybe including myself - let's read and find out), including Katey Redd - who many consider to be one of the original sissy bounce artists - do not believe it exists as a distinct genre.

The general consensus on sissy bounce seems to be as follows:
Sissy bounce is usually among the more higher paced bounce songs. While OG bounce artists like DJ Jubilee and DJ Jimi rap over more relaxed, Triggerman-reminiscent beats, sissy bounce tends to come at you more aggressively. The lyrical content of the genre tends to focus on sex. I hesitate to refer to it as "hypersexual," like a lot of the articles on sissy bounce have, because of how the word implies that there's something indecent about it. However, if that word helps you frame it in some way, then I guess you could use it. The best frame of reference, though, is probably the music itself. Check out Sissy Nobby's now classic "Beat It Out The Frame" below:

"Beat It Out The Frame"

What seems to make sissy bounce its own distinct , though, in the eyes of those who believe in the term, seems to be that the artists are openly homosexual and androgynous or trans.

The term itself - "sissy" bounce - is derogatory. Moreover, the idea that these artists need to be placed into a separate category of their own seems like an exclusive, and inherently homophobic and transphobic notion. Sonically, sissy bounce is really not so much of an offshoot from bounce. Songs like "Beat It Out The Frame" seem more characteristic of an artist or change of time than anything to me. For example, while Big Freedia's "Duffy" fits the above, generally accepted definition of sissy bounce, some of her older work does not. "Gin In My System" sounds pretty classically bounce.

"Duffy"

"Gin In My System"

What's more is that arguably all bounce music - "sissy" or not - is hypersexual (if that's the word we're going with). Content-wise, what makes Sissy Nobby's cry of "Pop that dick up" on "Beat It Out The Frame" any more sexual than N.O. Meazy's "Fuck Like Ya Ugly" - a song that is literally about having sex with a girl from behind (to quote, "face down, knees to the ground"), a technique that is apparently useful when getting down with an ugly girl so that one does not have to see her face?

"Fuck Like Ya Ugly"

Basically, as far as I can see, sissy bounce is not distinct from bounce except that many seem to consider its artists to be "sissies." So, this label seems pretty much undeniably problematic. However, maybe it isn't all bad.

Duh, calling gay and trans performers "sissies" is disgusting, but this label has not stopped them from rising to success. Big Freedia, Sissy Nobby, Katey Redd, and the late Nicky Da B are among the biggest names in bounce and have dominated the scene and music in general over more traditional artists. As these artists have begun to transcend the power of the word "sissy," some, like the Queen Diva herself, have come to embrace it.  They have re-appropriated a label they were given that was meant to degrade them, and are wearing it proudly, thus infusing it with a sense of empowerment.

Nicky Da B was featured on Diplo's bounce-inspired EDM hit "Express Yourself"

in 2012, bringing the rapper international attention.

It's a grey area. Much like the n-word or women calling themselves and their friends bitch or slut endearingly, it's a bit tricky to see a clear right or wrong answer. However, what I think is clear (and I hope I have made clear) is that sissy bounce really is not its own genre because of musical differences. The distinction comes from something ugly and discriminatory, but what is a grey area and what is up for discussion is the validity of the use of the term in the present. It's a discussion worth having as bounce continues to gain more and more attention outside of the local scene while simultaneously, gay and trans issues are coming to the forefront of political and social discussion. Like we talked about a couple weeks back with Beyoncé and "Formation," artists with a certain degree of influence have some sort of social responsibility. So as the artists often labeled as sissy bounce artists (I don't know if I'm totally comfortable calling them that myself) gain more success, Big Freedia in particular, the way they frame themselves and their music and how they interact with the term "sissy bounce" will matter more and more.