Shane Shane / Liquid Nonsense
Saturday, October 27 – 5:30pm / The Club at La MaMa
Queer New York International Arts Festival / New Music Series 2013
![An Interview with SHANE SHANE by Katherine Cooper for
La MaMa’s QUEER NEW MUSIC SERIES:
What does queer mean to you right now?
We’re at a crossroads within the gay community where we need to think deeply about whether or not our queer identities run deeper than how we want to arrange our sex lives. I, for one, am seeing a heartening movement of people who want to live their lives free of petty gender constraints and dominant discourse surrounding relationships. To me, right now, queer isn’t so much about sexual orientation as it is about freedom, questioning, and genderplay.
Can you tell me a formative moment from childhood?
Seeing Jessica Rabbit in Who Framed Roger Rabbit was one of the most important things that happened to me as a kid. I was obsessed immediately—she was mysterious, hyperfeminine, threatening, and ridiculous all at once. I didn’t know if I wanted to date her, be her, or hang out with her, but I knew I wanted her in my life.
Who are your musical and theatrical heroes?
Bjork is the gold standard by which I measure all other artists in any medium. I’ve also been heavily influenced by a Minneapolis cabaret band called Tulip Sweet and Her Trail of Tears and my dear friends in the now-defunct band Mathematicians.
Your music has been called “novel, irritating, and pretty damn thrilling.” Does annoyance play a role in your performance aesthetic?
It does in so far as it plays a role in my personality. Like many performers I have a vast thirst for attention, and I’ve learned over the years to channel that need into my performance. I don’t set out to irritate or confront my audience, but I just think that it happens because of the pent up energy I tend to let out when I perform. I think it’s better to be annoying onstage to an audience than off to your friends.
[Photo by Evan William Smith]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uaaoMgpLWrn6PWowfRDguGCxoo8POjjDLvUraWJKQ8OF6g8yVM2gOGe1SXDYc7WwICSufr4jAmPJnNcYDCdKHWoWMlPCkRYGe9h41Ef6qcL00e5L92Dka7iKorU_TcftddJG-yyLLtP6EMa_87fgiO2cx8nmLfIWFB802apXmfPg=s0-d)
An Interview with SHANE SHANE by Katherine Cooper for
What does queer mean to you right now?
We’re at a crossroads within the gay community where we need to think deeply about whether or not our queer identities run deeper than how we want to arrange our sex lives. I, for one, am seeing a heartening movement of people who want to live their lives free of petty gender constraints and dominant discourse surrounding relationships. To me, right now, queer isn’t so much about sexual orientation as it is about freedom, questioning, and genderplay.
Can you tell me a formative moment from childhood?
Seeing Jessica Rabbit in Who Framed Roger Rabbit was one of the most important things that happened to me as a kid. I was obsessed immediately—she was mysterious, hyperfeminine, threatening, and ridiculous all at once. I didn’t know if I wanted to date her, be her, or hang out with her, but I knew I wanted her in my life.
Who are your musical and theatrical heroes?
Bjork is the gold standard by which I measure all other artists in any medium. I’ve also been heavily influenced by a Minneapolis cabaret band called Tulip Sweet and Her Trail of Tears and my dear friends in the now-defunct band Mathematicians.
Your music has been called “novel, irritating, and pretty damn thrilling.” Does annoyance play a role in your performance aesthetic?
It does in so far as it plays a role in my personality. Like many performers I have a vast thirst for attention, and I’ve learned over the years to channel that need into my performance. I don’t set out to irritate or confront my audience, but I just think that it happens because of the pent up energy I tend to let out when I perform. I think it’s better to be annoying onstage to an audience than off to your friends.
[Photo by Evan William Smith]
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