'... love creates something that was not there before.' – Hedwig John Cameron Mitchell and Stephen Trask’s Hedwig and the Angry Inch opened on Valentine’s Day,1998, in New York City, and ever since, it and its genderqueer heroine have captivated audiences around the world. As the first musical to feature a genderqueer protagonist as its lead, the show has had an extraordinary life on film, Broadway and in the music field. A glam rock musical with a complex relationship to issues related to art, eroticism and matters of identity formation, Hedwig and the Angry Inch is a darkly exuberant fairy tale about a child that discovers she is one of a kind, but also potentially among her own kind, if she dares travel past borders that confine and try to stabilise her being and identity. Caridad Svich examines this exhilarating work through the lenses of visual and vocal rock ’n’ roll performance, the history of the American musical, and its positioning within LGBTIQ+ theatre.
Tells the story of transsexual rocker Hedwig Schmidt, an East German immigrant whose sex change operation has been botched and who finds herself living in a trailer park in Kansas.
It begins in the year 1900, with the scream of a newborn. It ends, 100 pages later, in the year 2000, with the death-rattle of a 100-year-old man. The infant and the old man are both Julio, and Gilbert Hernandez's Julio's Day (originally serialized in Love and Rockets Vol. II but never completed until now) is his latest graphic novel, a masterpiece of elliptical, emotional storytelling that traces one life -- indeed, one century in a human life -- through a series of carefully crafted, consistently surprising and enthralling vignettes. There is hope and joy, there is bullying and grief, there is war (so much war -- this is after all the 20th century), there is love, there is heartbreak. This is very much a singular, standalone story that will help cement Hernandez's position as one of the strongest and most original cartoonists of this, or any other, century.
"[A] tender, funny, terrific new play. . . . Mr. Eno's voice, which teases out the poetry in the pedestrian and finds glinting humor in the static that infuses our faltering efforts to communicate, is as distinctive as any American playwright's today."—The New York Times "Weird and wonderful . . . Eno's familiar sudden-shifting between profound and playful verbiage is delightfully disarming and sometimes awfully funny."—Variety “Plays as funny and moving, as wonderful and weird as The Realistic Joneses… do not appear often on Broadway. Or ever, really…. Mr. Eno’s voice may be the most singular of his generation, but it’s humane, literate and slyly hilarious…. For all the sadness woven into its fabric, The Realistic Joneses brought me a pleasurable rush virtually unmatched by anything I’ve seen this season.” – The New York Times “As usual, Eno’s dialogue is a marvel of compression and tonal control, trivial chitchat flipping into cosmic profundity with striking ease…. There’s much to savor: the dry but meaningful banter, the joy of humans sharing time and space, battling the darkness with a joke or silence. Life in Enoland isn’t what you’d call realistic—it’s more real than that.” – Time Out New York “[An] elliptical, funny, dark and strangely moving new play…. Eno is a writer with heart and compassion.” – Chicago Tribune “Eno's first-ever commercial foray ups the creative ante in a Broadway climate that can be resistant to new voices…. [A] very fine play where laughter exists a heartbeat, or heartbreak, away from tears.” – The Telegraph Meet Bob and Jennifer and their new neighbors John and Pony, two suburban couples who have more in common than their identical last names. Boasting the playwright's quintessential existential quirkiness, this new comedy finds poetry in the banal while humorously exploring our ever-floundering efforts at communication. Listed as one of New York Times's Best Plays of 2012, The Realistic Joneses received its Broadway premiere in spring 2014, starring Toni Collete, Michael C. Hall, Tracy Letts and Marisa Tomei, and opening to rave reviews. Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Middletown, The Flu Season, Tragedy: a tragedy, Intermission, and Gnit, an adaptation of Henrik Ibsen's Peer Gynt. His many awards include the PEN/Laura Pels International Foundation for Theatre Award, the Horton Foote Prize, and the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame.
Articles cover many aspects of contemporary culture, including the queer cowboy, the emergence of lesbian chic, and the expansion of queer representations of blackness. This accessible volume offers useful analytical tools that will help readers make sense of the problems and promise of queer pop culture.
Judith Perraino investigates how music has been used throughout history to call into question norms of gender and sexuality. Beginning with an examination of the mythology surrounding the Sirens, she goes on to consider musical creatures, gods, humans and music-addled listeners.
Finalist, 2015 Lambda Literary Award for LGBT Drama Discharged from the Marines under suspicious circumstances, Isaac comes home from the wars, only to find the life he remembers upended. Isaac’s father, who once ruled the family with an iron fist, has had a debilitating stroke; his younger sister, Maxine, is now his brother, Max; and their mother, Paige, is committed to revolution at any cost. Determined to be free of any responsibility toward her formerly abusive husband—or the home he created—Paige fervently believes she can lead the way to a "new world order." Hir, Taylor Mac’s subversive comedy, leaves many of our so-called normative and progressive ideas about gender, families, the middle class—and cleaning—in hilarious and ultimately tragic disarray.
LGBT musicians have shaped the development of music over the last century, with a sexually progressive soundtrack in the background of the gay community’s struggle for acceptance. With the advent of recording technology, LGBT messages were for the first time brought to the forefront of popular music. David Bowie Made Me Gay is the first book to cover the breadth of history of recorded music by and for the LGBT community and how those records influenced the evolution of the music we listen to today.
APPEARED ON BEST OF THE YEAR LISTS FROM NPR, PUBLISHERS WEEKLY, WASHINGTON POST, VULTURE, BOOKLIST, AND MORE The cartoonist of This One Summer and SuperMutant Magic Academy explores the virtual and IRL world of contemporary women via a lens both surreal and wry Jenny becomes obsessed with a strange "mirror Facebook," which presents an alternate, possibly better, version of herself. Helen finds her clothes growing baggy, her shoes looser, and as she shrinks away to nothingness, the world around her recedes as well. The animals of the city briefly open their minds to us, and we see the world as they do. A mysterious music file surfaces on the internet and forms the basis of a utopian society–or is it a cult? Boundless is at once fantastical and realist, playfully hinting at possible transcendence: from one’s culture, one’s relationship, oneself. This collection of short stories is a showcase for the masterful blend of emotion and humour of award-winning cartoonist Jillian Tamaki.
