![]() Each of these moments constituted a hailing, or a moment of exchange where you recognized the existence of a way of understanding yourself and responded to it, allowing it to define or constitute you in the process” (Ott and Mack). The ability to project upon the artist in this way is lost, however, through the total removal of the organ itself.īefore you even consciously took up your identity, “your parents had already given you toys, surrounded you with colors, or played with you in ways that communicated the norms or limits of that identity to you. Though the idea of gender is not tied to biology, the two are often conflated by the general public. Traditionally, this is where the near entirety of a one’s being is supposed to come from the sex organ being the key motivator for every other piece of a person. ![]() On Young Thug’s album Barter 6, t he shadowed outer boundary of the album cover conceals the lower half of his body. We argue that it is through his enacting of gender as a performance, and the apparent contradictions that then exist between this and other elements of Young Thug’s self that the notion of gender being absolutely essential is disproved. How should this be considered when placed in context against the more problematic pieces of his public persona? To negate either piece of his being seems ill-considered, but perhaps they are not mutually exclusive. For him, gender appears to be but a costume to don at will a claim bolstered further by his public statements dismissing the reality of it at all. Young Thug, the musical phenomenon hailing from Atlanta, Georgia, wears the cloaks of male and female without any apparent inhibitions. We will refer to Young Thug using he/him/his pronouns, as all writing on the musical artist hailing from Atlanta, Georgia has done so in the past and he has not made public any desire for a different reference.
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