Social media has been transforming American and global cultural life for over a decade. It has flattened the divide between producer and audience found in other forms of culture while also enriching some massive corporations. At the core of Social Media Freaks is the question: Does social media reproduce inequalities or is it a tool for subverting them? Social Media Freaks presents a virtual ethnography of social media, focusing on issues of identity and inequality along five dimensions-race, class, gender, sexuality, and disability. It presents original and secondary findings, while also utilizing social theory to explain the dynamics of social media. It teaches readers how to engage social media as a tool for social activism while also examining the limits of social media's value in the quest for social change.

Max is used to being called Stupid. And he is used to everyone being scared of him. On account of his size and looking like his dad. Kevin is used to being called Dwarf. And he is used to everyone laughing at him. On account of his size and being some cripple kid. But greatness comes in all sizes, and together Max and Kevin become Freak The Mighty and walk high above the world. An inspiring, heartbreaking, multi-award winning international bestseller.

In Freaks, Geeks, and Cool Kids, Second Edition, award-winning sociologist Murray Milner tries to understand why teenagers behave the way they do. The first edition drew upon two years of intensive fieldwork in one high school and 300 written interviews about high schools across the country, where he argued that consumer culture greatly impacts the way our youth relate to one another and understand themselves and society. Milner now expands on that concept with a new year of fieldwork fifteen years after he began. He has uncovered in teens a move away from consumerism and towards the cultural capital of information in a time of social media and standardized tests.

If this is a dream, why does she seem so real? Though Abel Dandy was born to circus performers and grew up in a troupe of odd and inexplicable people, he has never felt limited by his normalcy--until now. Realizing he'll never be more amazing than the talented oddities around him, Abel can only dream of living a life richer than his own. But in his dreams a mysterious woman beckons him, calling him passionately by a name he doesn't know and speaking in a language he's never heard, but fully understands. Compelled by these visions and yearning to be more than ordinary, Abel embarks on a journey more frightening and wondrous than he ever imagined....

It begins with a dire call-right before his father disappears and his skyscraper home's doors explode inward. Street Freaks is the kind of thrilling futuristic story only New York Times bestselling author Terry Brooks can tell. "Go into the Red Zone. Go to Street Freaks." his father directs Ashton Collins before the vid feed goes suddenly silent. The Red Zone is the dangerous heart of mega-city Los Angeles; it is a world Ash is forbidden from and one he knows little about. But if he can find Street Freaks, the strangest of aid awaits―human and barely human alike. As Ash is hunted, he must unravel the mystery left behind by his father and discover his role in this new world. Brooks has long been the grandmaster of fantasy. Now he turns his hand to science fiction filled with what his readers love best: complex characters, extraordinary settings, exciting action, and a page-turning story. Through it, Brooks reimagines his bestselling career yet again.

This book traces how the American freak show has re-emerged in new visual forms in the 21st century. It explores the ways in which moving image media transmits and contextualizes, reinterprets and appropriates, the freak show model into a “new American freak show.” It investigates how new freak representations introduce narratives about sex, gender, and cultural perceptions of people with disabilities. The chapters examine such representations found in horror films, including a prolonged look at Freaks (1932) and The Texas Chainsaw Massacre (1974), documentaries such as Murderball (2005) and TLC’s Push Girls (2012-2013), disability pornography including the pornographic documentary Sick: The Life and Death of Bob Flanagan Supermasochist (1997), and the music icons Marilyn Manson and Lady Gaga in their portrayals of disability and freakishness. Through this book we learn that the visual culture that has emerged takes the place of the traditional freak show but opens new channels of interpretation and identification through its use of mediated images as well as the altered freak-norm relationship that it has fostered. In its illumination of the relationship between normal and freakish bodies through different media, this book will appeal to students and academics interested in disability studies, gender studies, film theory, critical race theory, and cultural studies.

"Ben has to wear hearing aids, but being inseparable from the super-popular Tyler allows him to think of himself as normal. But Tyler blows him off senior year and Ben needs to rethink who he is--and who Tyler is"--