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An on-line conference celebrating the relationship between LGBTI/Queer identities and pop music.

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Since its advent as a cultural force in the 1950s, representations and executions of sexuality in the lyrics, performativity and artefacts associated with pop music have been an integral to the genre (Budd, 1994). In turn, much of the discourse, scandal and controversy generated by pop music has also been dominated by a focus on the sexual (Kirk, 1999; Schippers, 2010).

An established history of the investment and allegiance to pop music among queer audiences has also been observed (Bullock, 2017). Among pop music’s multitudinous functions, its assistance in the development of identity (Dillon, Moradi & Worthington, 2011; Whieley & Rycenga, 2006), alongside its lending to the notion and creation of ‘safe spaces’ (Siegel, 2001; Coleman, 2016), ensure the medium has always enjoyed popularity among queer audiences.

From consideration of familiar tropes such as the ‘gay icon’ and the ‘gay anthem’ and explorations of various aspects of queer fandom, the seminar serves to consolidate the continued contribution of artists and audiences alike, in affirming pop’s place as a soundtrack to our lives, and as an enduringly potent queer cultural force.

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