More Chesney Work:

Qoutes from Outing Texture, Renua Bara, published in Novel Gazing, Edited by EKS...

"The language of texture, involves liminal, erotic play between shiny/matte and smooth/rough distinctions"
94

two ways of relating this to Chesney, the smoothness of his flesh, the shininess of his body, the hairlessness, etc compared to the rough, hairy, secondary sexual characteristics---the differences in his body, his maintaining his body is maintaining a permanent adolescence, the smoothness of his copereal presence attaches to the smoothness, the studio perfection of is vocals--this splits in two ways: 1) the rough voice, rough manner, rough chin of Toby Keith 2) the contradiction b/w the studio gorgeousness of the voice and the hairy, butch presence of Tim McGraw (cf the Cowboy in Me video, or the Franklin Wrestling press photos) (also the only shirtless shot of Paisley is less then 3 seconds in the high school nostaglia fes more then a memory (c/c with: "she said she liked my textures, chin smooth, voice rough", wiki of love, tom smith, itom 3)

"Fetishism can also lie in not in the shine, but in a kind of fluffy, hairy, feathery, furry, leathery coarseness" 104

fluffy--as in porn fluff, as in pop fluff, as in non substantial, as in not meaning much, as in too epheremal for the real thing, can be discussed in the alt/pop split, founded in the 70s.

hairy: bear, leather king, sexual currency of adolescence, the hormones that create the schmaltz, in people like tom jones (you can see it in toby keith versus tim mcgraw, in that toby keith sings songs like "what stays in mexico" or "running block" (ie fuck songs) versus lets make love (ie making love songs) (see also the recent video for garth brooks more then a memory, his first nude)

feathery: doesn't apply here.

furry: is there any difference in the distinctions between furry and hairy, except maybe furry is the end of a gradition of hairy? going from smooth to hairy to furry, furry as in the usage of woof in the bear subcult, a signifer of a certain kind of animalism, that the careful refusal of adult wantoness that in general country is criticised for?

leathery: two thots leathery as skin, which is not sexualized, which is one of the concerns of the Chesney in the St Johns photos, and also leathery as in butch leather, a signifer of country masculinity.

coarsness: ie bawdy, an example of textural words to describe textual positioning.

From Visaul and Other Pleasures, Laura Mulvey, 1988.

"women without a phallus have to undergo punishment by...fetish objects ranging from tight shoes and corestry through rubber gloves and leather" 8

she thinks my tractor's sexy video--she is serving him, there is no doubt in that, which would make it seem that the woman is being subsurvient:
1) farm culture, and even division of work
2) that she has the high heels off, dispalyed from the side, the fetish object is discarded for comfort,
3) she rides regal on the back of a tractor, she is assuming sexual and physical power of chesney.
4) chesney is hairy here (the early or late periods of Chesney;s success can be delineated by whether he has shaved his chest)
5) "even a little crazy about my farmer tans" placing chesney as the one of sexual tastes
6) the infamous coda, with the phallic fiddle bow, and the trading that back and forth, the almost perfect mirroring of sexual positions
7) the guiltless, casual trading of phallic positioning is the most queer thing in chesneys canon, that slash doesn't mean either or it means both, plus, in addition, maybe, all of the liminal prepositions.

"The cinema satisfies a primordial wish for pleasurable looking, but it also goes further, devolping scopophillia in its narcissistic aspect" 17

introduce this quote into large ideas about queerness, looking and narcissism.

"Pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy onto the female figure, which is styled accordingly" 19

1) depending on the video, the gaze that Chesney projects in his videos includes, but is not limited to his current self (i go back, no shirts no shoes no problems), his past self (young), his future self (there goes my life, the good stuff), in addition to men (anything but mine, on the coast of somwhere beautiful), women (she thinks my tractors sexy, big star), and giant crowds of adoring fans (don't happen twice). In addition, the camera makes Chesney sometimes passive (I Lost It) an sometimes active (any of the concert videos)---the fantasy then is projected sluttishy, the active/male passive/female constriction of traditional feminist psychoanalytic theory is blown away.

more to read:
Freud: Medusa, in Three Essays on Sexuality
Delueze and Guatarri Smooth Space (The Fold)
more Laura Mulvey