A "collection of personal essays exploring the intersection of queerness, relationships, pop culture, the Internet, and identity, introducing one of the most undeniably original new voices today. Jill Gutowitz's life--for better and worse--has always been on a collision course with pop culture, [including] ... the pivotal day when Orange Is the New Black hit the airwaves and broke down the door to Jill's own sexuality. In these honest examinations of identity, desire, and self-worth, Jill explores perhaps the most monumental cultural shift of our lifetimes: the mainstreaming of lesbian culture"--

Andy Warhol was queer in more ways than one. This work explores, analyzes, and celebrates the role of Warhol's queerness in the making and reception of his film and art. It demonstrates that to ignore Warhol's queerness is to miss what is most valuable, interesting, sexy, and political about his life and work.

From The Onion and Reductress contributor, this collection of essays is a hilarious nostalgic trip through beloved 2000s media, interweaving cultural criticism and personal narrative to examine how a very straight decade forged a very queer woman "Honest, funny, smart, and illuminating.” —Anna Drezen, co-head writer of SNL "If you came of age at the intersection of Mean Girls and The L Word: Read this book.” —Sarah Pappalardo, editor in chief and co-founder of Reductress Today’s gay youth have dozens of queer peer heroes, both fictional and real, but former gay teenager Grace Perry did not have that luxury. Instead, she had to search for queerness in the (largely straight) teen cultural phenomena the aughts had to offer: in Lindsay Lohan’s fall from grace, Gossip Girl, Katy Perry’s “I Kissed A Girl,” country-era Taylor Swift, and Seth Cohen jumping on a coffee cart. And, for better or worse, these touch points shaped her adult identity. She came out on the other side like many millennials did: in her words, gay as hell. Throw on your Von Dutch hats and join Grace on a journey back through the pop culture moments of the aughts, before the cataclysmic shift in LGBTQ representation and acceptance—a time not so long ago, which many seem to forget.

Why has music so often served as an accomplice to transcendent expressions of gender? Why did the query "is he musical?" become code, in the twentieth century, for "is he gay?" Why is music so inherently queer? For Sasha Geffen, the answers lie, in part, in music’s intrinsic quality of subliminal expression, which, through paradox and contradiction, allows rigid gender roles to fall away in a sensual and ambiguous exchange between performer and listener. Glitter Up the Dark traces the history of this gender fluidity in pop music from the early twentieth century to the present day. Starting with early blues and the Beatles and continuing with performers such as David Bowie, Prince, Missy Elliot, and Frank Ocean, Geffen explores how artists have used music, fashion, language, and technology to break out of the confines mandated by gender essentialism and establish the voice as the primary expression of gender transgression. From glam rock and punk to disco, techno, and hip-hop, music helped set the stage for today’s conversations about trans rights and recognition of nonbinary and third-gender identities. Glitter Up the Dark takes a long look back at the path that led here.

'A riveting read about a pop revolution hiding in plain sight' PETE PAPHIDES 'Highly energetic, well-informed, opinionated in all the right places and always exciting' DAVID QUANTICK 'Thoroughly researched, erudite and often laugh-out-loud funny' DARYL EASLEA In 1984, pop came out of the closet - even if not all of the artists felt that they could - and, in the process, charted the course of the rest of the decade. In 1984: The Year Pop Went Queer, writer and musician Ian Wade charts where these artists, including Queen, George Michael, David Bowie, Pet Shop Boys, Frankie Goes to Hollywood and Madonna - who all enjoyed chart success in 1984 - were during that epoch-making year. It studies the impact these groundbreaking musicians had before, during and after on the gay community and popular culture, and it demonstrates how they were able to break down barriers, raise consciousness and set in motion the first nascent ripples in a pond that are still being felt today. As a backdrop, it explores the strides made in the name of the cause and how the wider surrounding culture reacted with equal parts glee, bafflement and disgust.

Queer Nostalgia in Cinema and Pop Culture is a fascinating study of queer nostalgia in films, animation and music videos as means of empowerment, re-evaluating and recreating lost gay youth, coming to terms with one's sexual otherness and homoerotic desires, and creatively challenging homophobia, chauvinism, ageism and racism.

Argues for the queer potential of video games While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can—and should—be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games—because video games have, in fact, always been queer.

This book investigates the phenomenon of queering in popular music and video, interpreting the music of numerous pop artists, styles, and idioms. The focus falls on artists, such as Lady Gaga, Madonna, Boy George, Diana Ross, Rufus Wainwright, David Bowie, Azealia Banks, Zebra Katz, Freddie Mercury, the Pet Shop Boys, George Michael, and many others. Hawkins builds his concept of queerness upon existing theories of opacity and temporality, which involves a creative interdisciplinary approach to musical interpretation. He advocates a model of analysis that involves both temporal-specific listening and biographic-oriented viewing. Music analysis is woven into this, illuminating aspects of parody, nostalgia, camp, naivety, masquerade, irony, and mimesis in pop music. One of the principal aims is to uncover the subversive strategies of pop artists through a wide range of audiovisual texts that situate the debates on gender and sexuality within an aesthetic context that is highly stylized and ritualized. Queerness in Pop Music also addresses the playfulness of much pop music, offering insights into how discourses of resistance are mediated through pleasure. Given that pop artists, songwriters, producers, directors, choreographers, and engineers all contribute to the final composite of the pop recording, it is argued that the staging of any pop act is a collective project. The implications of this are addressed through structures of gender, ethnicity, nationality, class, and sexuality. Ultimately, Hawkins contends that queerness is a performative force that connotes futurity and utopian promise.