The purpose of this study is to explore the ways Black women and queer artists and their audiences employ country music as a way to facilitate a reclamation and complication of (Black) Americanness. The data for this study emerges from a qualitative content analysis of six music videos by Black artists released on YouTube between January 2016 and December 2022 and their associated comment sections. The years between 2016 and 2022 have seen the United States contend with what has been considered a "racial reckoning." This study recognizes these six music videos as sites for personal and communal reflection and re-evaluation on how this moment of race-based national conversation brings into question the ways we typify American identity and citizenship. The foundational literature for this study focuses on the production of culture perspective, disidentification, quare studies, and musical construction of identity. / Master of Science / This project explores how Black women and queer artists and their audiences use country music to facilitate reclaim and complicate Black Americanness. The data for this study emerges from a qualitative content analysis of six music videos by Black artists released on YouTube between January 2016 and December 2022 and their associated comment sections. The years between 2016 and 2022 have seen the United States contend with what has been considered a "racial reckoning." This study recognizes these six music videos as sites for personal and communal reflection and re-evaluation on how this moment of race-based national conversation brings into question the ways we typify American identity and citizenship.

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The Black community and the gay community have historically experienced marginalization from society, public and private institutions, federal government agencies, and law enforcement. Black gay male leadership is not a conversation within leadership academia. This phenomenological study focuses on understanding the lived experiences and leadership among Black gay men who are leaders in Los Angeles County. This study found that the lived experiences such as oppression, mentorship, community involvement, and advocacy have influenced their leadership development and leadership identity. This study identifies how Black gay men define leadership, based off their lived experiences. It also identifies themes of leadership development for Black gay men. The results have implications for future research and leadership development among Black gay men. Understanding lived experiences of Black gay male leaders and their leadership development can help identify what core foundations/topics could be included in professional development aimed at building leadership development among young Black gay men.

With the ultimate goal of illustrating the ways that queer youth employ change and act as agents of self-representation, this project examines the relationship between the It Gets Better Project, a queer adult project focused upon ‘bettering‘ the lives of their younger generation, and the Make it Better Project created in response by queer youth. This thesis addresses the following questions: How do adult conceptualizations of queer youth as vulnerable victims operate within discourses that employ queer youth as agents of change? In what ways do queer youth grapple with such conceptualizations? Furthermore, how might queer youth actively resist adult narratives of risk, vulnerability, and surveillance? Seeking to not only examine the ways in which queer youth negotiate adult narratives of adolescent risk and vulnerability, this project is organized to highlight the ways in which queer youth understand and experience their own representational and performative narratives, particularly when performed in response to adult narratives. In examination of the “It Gets Better: Dan and Terry” (2010a) and “It Gets Better: President Barack Obama” (2010c) vlogs of the It Gets Better Project, this thesis seeks to uncover the ways that assimilationist goals of inclusion, tolerance, and equality impact the intelligibility of queer youth. As a means for which to explore the possible resistance employed to counter such silencing mechanisms, the examination turns to three youth-produced vlogs of the Make it Better Project. An additional intent of the focus on the “LGBTQ Youth Speak Out”, “Make it Better Project” and “Make it Better Project - You Can Make it Better Now!” vlogs is to construct a space to analyze the complex and fluid dynamics of queer youth communities. With focus given to the various mechanisms employed by the adult and youth performers of these particular vlog-narratives, this project constructs an interdisciplinary framework of new social movement theory, new online media studies, queer theory, quare (queer of color) studies, feminist sociolinguistics, and critical youth studies as a means to position queer youth voices at the forefront of discussion. With the goal of continuing research that represents queer youth as agents of their own experiences, bodies, lives, and identities, it is my hope that the framework provided by this examination will inspire future work that highlights and centers the voices of queer youth. / text

"Quare Contestations: Bridging Queer, Lesbian, and Feminist Narratives of the Irish Diaspora" examines three sets of biographical and autobiographical narratives about Irish who migrated to the United States in the 19th and 20th centuries. Dwelling primarily in queer studies and diaspora studies, this thesis participates in the construction of a queer Irish diaspora archive by analyzing the spaces of overlap between Irish queer, feminist, and lesbian - together, quare - theory and lived experience in these narratives. In my analysis, I demonstrate the fluidity, movement, and interdisciplinary scope of a quare framework for approaching studies of gender and sexuality in the Irish diaspora context. This thesis intervenes into the work already being done to queer Irish diaspora by examining the contestations of "Irishness" appearing in the narratives that are analyzed, and by in turn contesting and complicating the action and meanings made by "queer" in the existing archive of queer Irish diaspora literature.

GAYME is a transmedia story-telling world that I have created to conceptually explore the dynamics of queering game design through the development of varying game prototypes. The final iteration of GAYME is @deadquarewalking'. It is a documentary game and a performance art installation that documents a carless, gay/queer/quare man's journey on Halloween to get to and from one of Orlando's most well-known gay clubs - the Parliament House Resort. "The art of cruising" city streets to seek out queer/quare companionship particularly amongst gay, male culture(s) is well-documented in densely, populated cities like New York, San Francisco and London, but not so much in car-centric, urban environments like Orlando that are less oriented towards pedestrians. Cruising has been and continues to be risky even in pedestrian-friendly cities but in Orlando cruising takes on a whole other dimension of danger. In 2011-2012, The Advocate magazine named Orlando one of the gayest cities in America (Breen, 2012). Transportation for America (2011) also named the Orlando metropolitan region the most dangerous city in the country for pedestrians. Living in Orlando without a car can be deadly as well as a significant barrier to connecting with other people, especially queer/quare people, because of Orlando's car-centric design. In Orlando, cars are sexy. At the same time, the increasing prevalence in gay, male culture(s) of geo-social, mobile phone applications using Global Positioning Systems (GPS) and location aware services, such as Grindr (Grindr, LLC., 2009) and even FourSquare (Crowley and Selvadurai, 2009) and Instagram (Systrom and Krieger, 2010), is shifting the way gay/queer/quare Orlandoans co-create social and sexual networks both online and offline. Urban and sub-urban landscapes have transformed into hybrid "techno-scapes" overlaying "the electronic, the emotional and the social with the geographic and the physical" (Hjorth, 2011). With or without a car, gay men can still geo-socially cruise Orlando's car-centric, street life with mobile devices. As such emerging media has become more pervasive, it has created new opportunities to quarely visualize Orlando's "technoscape" through phone photography and hashtag metadata while also blurring lines between the artist and the curator, the player and the game designer. This project particularly has evolved to employ game design as an exhibition tool for the visualization of geo-social photography through hashtag play. Using hashtags as a game mechanic generates metadata that potentially identifies patterns of play and "ways of seeing" across player experiences as they attempt to make meaning of the images they encounter in the game. @deadquarewalking also demonstrates the potential of game design and geo-social, photo-sharing applications to illuminate new ways of documenting and witnessing the urban landscapes that we both collectively and uniquely inhabit. 'In Irish culture, "quare" can mean "very" or "extremely" or it can be a spelling of the rural or Southern pronunciation of the word "queer." Living in the American Southeast, I personally relate more to the term "quare" versus "queer." Cultural theorist E. Patrick Johnson (2001) also argues for "quareness" as a way to question the subjective bias of whiteness in queer studies that risks discounting the lived experiences and material realities of people of color. Though I do not identify as a person of color and would be categorized as white or European American, "quareness" has an important critical application for considering how Orlando's urban design is intersectionally racialized, gendered and classed.