Abstract
Often defined by its characteristic and heavy use of autotuned vocals, the microgenre hyper-pop is perhaps just as recognizable for the ubiquitous transness of its most important artists. Reading trans hyper-pop performers Blackwinterwells, laura les, and quinn's uses of the figure of the “bedsheet ghost,” this article explores trans artists’ responses to late capitalism's regimes of alienation as a means of desubjectivization through strategies of becoming spectral—resisting commodification through a spectral orientation toward their sonic corporeality.
Published Version
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