Butch Queens Up in Pumps examines Ballroom culture, in which inner-city LGBT individuals dress, dance, and vogue to compete for prizes and trophies. Participants are affiliated with a house, an alternative family structure typically named after haute couture designers and providing support to this diverse community. Marlon M. Bailey’s rich first-person performance ethnography of the Ballroom scene in Detroit examines Ballroom as a queer cultural formation that upsets dominant notions of gender, sexuality, kinship, and community.

20 years after Paris Is Burning, a rare look at Ballroom culture—from the inside

A 2023 Lambda Literary Award Finalist in Nonfiction An Electric Literature “Most Anticipated LGBTQ+ Book of 2022” Selection A love letter to the legendary Black and Latinx LGBTQ underground subculture, uncovering its abundant legacy and influence in popular culture. What is Ballroom? Not a song, a documentary, a catchphrase, a TV show, or an individual pop star. It is an underground subculture founded over a century ago by LGBTQ African American and Latino men and women of Harlem. Arts-based and intersectional, it transcends identity, acting as a fearless response to the systemic marginalization of minority populations. Ricky Tucker pulls from his years as a close friend of the community to reveal the complex cultural makeup and ongoing relevance of house and Ballroom, a space where trans lives are respected and applauded, and queer youth are able to find family and acceptance. With each chapter framed as a “category” (Vogue, Realness, Body, et al.), And the Category Is . . . offers an impressionistic point of entry into this subculture, its deeply integrated history, and how it’s been appropriated for mainstream audiences. Each category features an exclusive interview with fierce LGBTQ/POC Ballroom members—Lee Soulja, Benjamin Ninja, Twiggy Pucci Garçon, and more—whose lives, work, and activism drive home that very category. At the height of public intrigue and awareness about Ballroom, thanks to TV shows like FX’s Pose, Tucker’s compelling narratives help us understand its relevance in pop culture, dance, public policy with regard to queer communities, and so much more. Welcome to the norm-defying realness of Ballroom.

Even as substantial legal and social victories are being celebrated within the gay rights movement, much of working-class America still exists outside the current narratives of gay liberation. In Steel Closets, Anne Balay draws on oral history interviews with forty gay, lesbian, and transgender steelworkers, mostly living in northwestern Indiana, to give voice to this previously silent and invisible population. She presents powerful stories of the intersections of work, class, gender, and sexual identity in the dangerous industrial setting of the steel mill. The voices and stories captured by Balay--by turns alarming, heroic, funny, and devastating--challenge contemporary understandings of what it means to be queer and shed light on the incredible homophobia and violence faced by many: nearly all of Balay's narrators remain closeted at work, and many have experienced harassment, violence, or rape. Through the powerful voices of queer steelworkers themselves, Steel Closets provides rich insight into an understudied part of the LGBT population, contributing to a growing body of scholarship that aims to reveal and analyze a broader range of gay life in America.

Performance artist and scholar E. Patrick Johnson’s provocative study examines how blackness is appropriated and performed—toward widely divergent ends—both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity—avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises. Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.

While over the past decade a number of scholars have done significant work on questions of black lesbian, gay, bisexual, and transgendered identities, this volume is the first to collect this groundbreaking work and make black queer studies visible as a developing field of study in the United States. Bringing together essays by established and emergent scholars, this collection assesses the strengths and weaknesses of prior work on race and sexuality and highlights the theoretical and political issues at stake in the nascent field of black queer studies. Including work by scholars based in English, film studies, black studies, sociology, history, political science, legal studies, cultural studies, and performance studies, the volume showcases the broadly interdisciplinary nature of the black queer studies project. The contributors consider representations of the black queer body, black queer literature, the pedagogical implications of black queer studies, and the ways that gender and sexuality have been glossed over in black studies and race and class marginalized in queer studies. Whether exploring the closet as a racially loaded metaphor, arguing for the inclusion of diaspora studies in black queer studies, considering how the black lesbian voice that was so expressive in the 1970s and 1980s is all but inaudible today, or investigating how the social sciences have solidified racial and sexual exclusionary practices, these insightful essays signal an important and necessary expansion of queer studies. Contributors. Bryant K. Alexander, Devon Carbado, Faedra Chatard Carpenter, Keith Clark, Cathy Cohen, Roderick A. Ferguson, Jewelle Gomez, Phillip Brian Harper, Mae G. Henderson, Sharon P. Holland, E. Patrick Johnson, Kara Keeling, Dwight A. McBride, Charles I. Nero, Marlon B. Ross, Rinaldo Walcott, Maurice O. Wallace

Legendary features Gerard H. Gaskin's radiant color and black-and-white photographs of house balls, underground pageants where gay and transgender men and women, mostly African American and Latino, come together to see and be seen.