This book is a collection of essays highlighting different disciplinary, topical, and practical approaches to the study of kink and popular culture. The volume is written by both academics and practitioners, bringing the essays a special perspective not seen in other volumes. Essays included examine everything from Nina Hartley fan letters to kink shibari witches to kink tourism in a South African prison. The focus is not just on kink as a sexual practice, but on kink as a subculture, as a way of living, and as a way of seeing popular culture in new and interesting ways.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes, and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy. In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal's self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos.

Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy.

In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal s self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies."

The Jazz Age, a phenomenon that shaped American leisure culture in the early twentieth century, coincided with the growth of Kansas City, Missouri, from frontier town to metropolitan city. Though Kansas City's music, culture, and stars are well covered, Queering Kansas City Jazz supplements the grand narrative of jazz history by including queer identities in the city's history while framing the jazz-scene experience in terms of identity and space. Cabarets, gender impressionism clubs, and sites of sex tourism in Kansas City served as world-making spaces for those whose performance of identity transgressed hegemonic notions of gender, sexuality, race, and class. Amber R. Clifford-Napoleone takes an interdisciplinary approach to provide a critical deconstruction of how the jazz scene offered a space for nonnormative gender practice and performance and acted as a site of contested identity and spatial territory. Few books examine the changing ideas about gender in the turn-of-the-century Great Plains, under the false assumption that people in middle-American places experienced cultural shifts only as an aftershock of events on the coasts. This approach overlooks the region's contested territories, identities, and memories and fails to adequately explain the social and cultural disruptions experienced on the plains. Clifford-Napoleone rectifies this oversight and shows how Kansas City represents the complexity of the jazz scene in America as a microcosm of all the other people who made the culture, clubs, music, and cabarets of the age possible.