Dedication

pp iii-iv

Contents

pp v-vi

List of Figures and Tables

pp vii-vii

Notes on Contributors

pp viii-xi

Acknowledgements

pp xii-xii

1 - Introduction: What are Marketplace Cultures of Drag?

pp 1-18

Part I - Politicizing Drag Identities

pp 19-20

2 - The Neoliberal ‘Ru-presentation’ of Drag as a Key to Success and Acceptance

pp 21-43

3 - Drag Is Not Womanface

pp 44-60

Part II - Marketizing Drag

pp 61-62

4 - Crafty Queens: Meaning Co-Creation by Drag Performers and Brands through Artisanal Framing

pp 63-82

5 - Legitimation Spillover in the Berlin Drag Scene: From Conflict to Collaboration

pp 83-106

6 - Non-Fan Perception and Behaviour towards Cosmetics Endorsed by Drag Celebrities in Japan

pp 107-126

Part III - Digitizing Drag

pp 127-128

7 - Cybernetic Drag: Embodiment, Technology and Digital Drag Performance in the US during the COVID-19 Pandemic

pp 129-149

8 - Drag Social Media Influencers as Opinion Leaders: Their Role in Promoting Drag Entertainment in India

pp 150-168

9 - Conclusion: Studying Drag Marketplace Cultures – Critical Reflections and Future Directions

pp 169-186

Part IV - Epilogue

pp 187-188

10 - Kinky Boots: Reflections on Making and Marketing Tubular Sex

pp 189-195

11 - Reflections on the Business, Consumption and Performance of Contemporary Drag

pp 196-206

Index

pp 207-213