In the tradition of the Latin American testimonio, this is the story of Juan Rivera, a.k.a. Juanito Xtravaganza, a Latino runaway youth who ends up homeless in the streets of New York in the late 70s and becomes partner of the internationally famous 1980s Pop artist Keith Haring during some of the most frenetically productive years of his brief life, as told to the author and retold by him. A hybrid text - part testimonio, part linguistic and cultural analysis, and part art criticism - this is also a history of New York Latino neighborhoods during this period of devastating disinvestment and gentrification, as well as a personal, heart-felt meditation on the art of listening and the ethical limits of representing queer Latino lives.

Chapters of the book are organized by the Xtra function (such as Transition, Graphic Effects, Video and Sound, etc.). Each chapter begins with its own quick-reference table of contents that graphically shows the Xtras covered in the chapter, the Macromedia products to which they apply, the type of Xtra, and the platforms supported. Each chapter continues with an explanation of the nature and essential vocabulary for the data types and functions covered in the chapter, and then describes what Xtras are available, what they do, how to use them, and how to evaluate and buy them. It also offers in-depth case studies of Xtras in use. This is one resource multimedia developers and authors cant be without

Paris Is Burning (Jennie Livingston, 1991) captures the energy, ambition, wit, and struggle of African-American and Latino participants in the 1980s New York drag ball scene. This book contextualizes the film within the longer history of drag balls, the practices of documentary, the fervor of the culture wars, and the development of queer theory and critical race studies.

Until now there has been a systemic failure within social work education to address the unique experiences and concerns of LGBTQ individuals and communities. Queering Social Work Education, the first book of its kind in North America, responds to the need for theoretically informed, inclusive, and sensitive approaches in the field. This completely original collection of essays combines history and personal narratives with much-needed analyses and recommendations. It opens with chapters contextualizing LGBTQ history, theory, and issues. It then offers first-hand accounts of oppression, resistance, and celebration. Finally, it reflects on the current state of social work education and makes essential recommendations for improvement. By equipping readers with a new awareness of and sensitivity to queer issues, this book contributes positively to the future of social work education, research, policy, and practice.

An accessible, bold new vision for the future of intersectional trans feminism, called "one of the best books in trans studies in recent years" by Susan Stryker “A beautifully written and argued book.” - Torrey Peters, author of Detransition, Baby There is no shortage of voices demanding everyone pay attention to the violence trans women suffer. But one frighteningly basic question seems never to be answered: why does it happen? If men are not inherently evil and trans women do not intrinsically invite reprisal—which would make violence unstoppable—then the psychology of that violence had to arise at a certain place and time. The trans panic had to be invented. Award-winning historian Jules Gill-Peterson takes us from the bustling port cities of New York and New Orleans to the streets of London and Paris in search of the emergence of modern trans misogyny. She connects the colonial and military districts of the British Raj, the Philippines, and Hawai’i to the lively travesti communities of Latin America, where state violence has stamped a trans label on vastly different ways of life. Weaving together the stories of historical figures in a richly detailed narrative, the book shows how trans femininity emerged under colonial governments, the sex work industry, the policing of urban public spaces, and the area between the formal and informal economy. A Short History of Trans Misogyny is the first book to explain why trans women are burdened by such a weight of injustice and hatred.

From the dagger mistress Ezili Je Wouj and the gender-bending mermaid Lasiren to the beautiful femme queen Ezili Freda, the Ezili pantheon of Vodoun spirits represents the divine forces of love, sexuality, prosperity, pleasure, maternity, creativity, and fertility. And just as Ezili appears in different guises and characters, so too does Omise’eke Natasha Tinsley in her voice- and genre-shifting, exploratory book Ezili's Mirrors. Drawing on her background as a literary critic as well as her quest to learn the lessons of her spiritual ancestors, Tinsley theorizes black Atlantic sexuality by tracing how contemporary queer Caribbean and African American writers and performers evoke Ezili. Tinsley shows how Ezili is manifest in the work and personal lives of singers Whitney Houston and Azealia Banks, novelists Nalo Hopkinson and Ana Lara, performers MilDred Gerestant and Sharon Bridgforth, and filmmakers Anne Lescot and Laurence Magloire—none of whom identify as Vodou practitioners. In so doing, Tinsley offers a model of queer black feminist theory that creates new possibilities for decolonizing queer studies.