2012

[1] When D. A. Miller published “Anal Rope,” an essay about Alfred Hitchcock’s film Rope (1948), in 1990, the AIDS crisis was still raging in the United States, no effective treatment for it was available, homophobia was at its height

[1] On Halloween of 1976, a week before her thirty-third birthday, singer-songwriter Joni Mitchell strutted into a Los Angeles party in dark pancake makeup and a pimp’s suit and passed for a black man. For the next six years, Mitchell appeared

“Just the term ‘black women’ conjures up thoughts of an overweight, dark-skinned, loud, poorly educated person with gold teeth yelling at somebody in public. I hope that doesn’t make me racist but honestly that’s the 1st thing I think of.”- Lee

[1] In the spring of 1789, the impeachment of former East India Company president Warren Hastings for war crimes in India was entering its second year. The outbreak of revolutionary violence in France was still a few months in the future. And a

[1] In this essay, I am interested in how changing expectations of masculinity are reflected in the erotic text A Spy on Mother Midnight; or, the Templar Metamorphosed and parts two and three of that text, printed the same year, A

[1] Years before MTV, baby boomer audiences consumed images of themselves in widely popular rockumentaries that have since become key documents in our understanding of youth and music cultures of the past. In particular, the 1970 film Gimme

[1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive

Introduction: The new folk devils[1] In Policing the Crisis: Mugging, the State, and Law and Order, their classic application of cultural studies, political economy, and critical race studies to the interrogation of "crime," Stuart Hall and his

We Perceive, by the last London Atlas, that scrapbooks and albums are going entirely out of fashion in England.  This is one of those foreign examples, which, we trust, will be enthusiastically followed here.  We give this information thus

[1] On March 4, 1960, Robert Allerton became a father.  He was 86 at the time and his newly adopted son, John Wyatt Gregg, was 60.  They had met 38 years previously at a "Father-Son" fraternity banquet at the University of Illinois where