This study argues that the 1980s witnessed a revolutionary shift in pop music representations, and offered, for the first time a plethora of transgressive alternatives, which challenged the ubiquitous heteronormativity of the pop landscape which had gone before. Queer narratives commonly recall the decade as a dark aeon for LGBT/queer communities. With most political systems remaining universally hostile to the idea LGBT advancement or equality, the emergence of HIV/AIDS would disproportionally affect sexual minority populations and see further ancillary stigma directed towards those already subject to significant marginalisation. Just as the Weimar arts scene of 1920s Germany critiqued the rise of fascism, and the advent of punk rock was, in part, a reaction to the austerity of 1970s Britain, pop music has been shown to reflect the times in which we live. Using queer theory as a foundational framework, the study appraises various pop music artefacts from the period. In exploring the breath of contributions to the era’s musical outputs, through the lens of queer theory, the true extent, of the indelibly queer influence over the decade, becomes readily apparent. Relevant sexuality-related, musical, and transnationalist contexts are explored in Chapters I and II, in addition to introduction to the principles of queer theory underpinning the research. Chapter III introduces the genre of Hi-Nrg. Illustrated as innately queer in form, its subsequent trajectory of assimilation into the mainstream, where it would come to constitute a predominant, defining soundtrack of the period, is presented. Chapter IV continues the thematic thread and explores the phenomenon of the ‘gender bender’ in 1980s popular culture, illustrating their considerable aesthetic influence on the decade. In Chapter V, the focus turns to the plethora of avenues of expression adopted by artists, both explicit and coded, from which queer intimations can be drawn.