Abstract
My article seeks to track the queer relations to genre initiated by contemporary hyperpop artists like 100 gecs and SOPHIE. Hyperpop is a genre of pop music recently minted in the Summer of 2020 amidst the COVID-19 pandemic. My investigation of 100 gecs’ album, 1000 gecs and The Tree of Clues is a cross-disciplinary exercise in queer theory, gender studies, musicology, art history, and philosophy. The article primarily contributes to queer theory discourses on genre, gender, art, and the body. The article concludes with a meditation on “gec feminism,” articulating a critique of academic “standards” of writing and what kind of texts constitute “legitimate” objects of inquiry.
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