This essay explores the problem of performativity in David Bowie's art. Rock music identity politics is the anti-thesis of traditional, British middle-class nationalism and decency. Notably, Rock music in the UK can be regarded a cultural and social phenomenon. By conceptualizing gender acts, author attempts to demonstrate some ways in which sexual conceptions of gender can be understood as demonstrated, thus being capable to be incorporated differently. In opposition to theatrical models in Bowies “Queen bitch” song that takes the gendered self prior to its acts, the study shows the constituting theatrics as comprising that identity as a persuasive illusion, an object of belief. When Bowie says “She's so swishy in her satin” with a display of this particular woman brings forth from theatrical discourses, but mainly sexual phenomenology, showing that what is referred to as gender identity is a per formative accomplishment motivated by taboo and social sanction. Naturalistic explanations has often been criticized in the feminist theory when it comes to sex and sexuality which tends to make an assumption that the essence of women's social existence has its roots in their physiology which is evident in Queen bitch.
It is concluded that when it comes to rock music of his day, Bowie challenged it’s the core belief creating what was perhaps the largest cult in popular culture. Perhaps this sexual aspect of him as seen in this song as in most of his other songs could be attributed to his compulsion