Rebecca Tuhus-Dubrow illuminates how personal stereos like Sony's Walkman changed forever public space and boring tasks, and shows how the initial reception of portable cassette players can help us put our hopes and fears about today's devices into perspective. Brimming with stories of audio technology, public space, personal affect, and global economy, Tuhus-Dubrow's study ranges over an intricate landscape of semiotic and cultural touch points that together make the personal stereo an iconic piece of postmodern equipment.Object Lessons is published in partnership with an essay series in The Atlantic.

    Strinati provides a critical assessment of the ways in which these theories have tried to understand and evaluate popular culture in modern societies.Among the theories and ideas the book introduces are: mann culture, the Frankfurt School and the culture industry, semiology and structuralism, Marxism, feminism, postmodernism and cultural populism.This new edition provides fresh material on Marxism and feminism, while a new final chapter assesses the significance of the theories explained in the book.

    1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and "freaks" soon came to embody the social and political aspirations of America's most marginalized groups, including women, racial and sexual minorities, and the working classes.In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women's and Gay Liberation Movements. Through a series of comic book case studies - including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants -alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.

    Bruce Bawer exposes the heated controversy over gay rights and presents a passionate plea for the recognition of common values, "a place at the table" for everyone.

    In this single, from n+1 (Issue 12), Kent Russell gives a remarkable (and very funny) report on the festival and a sympathetic account of the situation of the white poor in the US.

    In the early 1970s, Rex and his brother Kevin were believed to be the last orphans to be transported to Australia under the Child Migrants Programme, which began in the 1930s and was thought to have ended by 1967. With a promise of a better life and a brighter future, the two innocent boys were sent to the other side of the globe, unaware of what this cruel world held in store for them.  But they would soon find out...  For the first time ever Rex, the survivor, will tell his story of childhood innocence, unforgivable abuse at the hands of the people who were meant to care for him, and his long journey back to England to seek the truth of what really happened to his mother, and why he was sent away in the first place.

    This combustible blend of creative brilliance produced some of the most acclaimed, audacious, and  innovative programming of the eighties, including a black and white tribute to film noir, with an introduction by Orson Welles; a parody of Shakespeare’s The Taming of the Shrew, written in iambic pentameter; an homage to The Honeymooners; and countless metafictive episodes breaking through the fourth wall — almost unheard of at the time for hourlong comedy-dramas. Without a doubt, Moonlighting helped pave the way for the era of prestige television we are now all enjoying.  The real story of this pioneering television series and the extraordinary behind-the-scenes challenges, battles, and rewards has never been told  — until now, Author Scott Ryan (The Last Days of Letterman, thirtysomething at thirty: an oral history, The Blue Rose, Scott Luck Stories) conducted over twenty interviews with the actors, writers, directors, and producers who made Moonlighting such a dynamic, unforgettable show, delving deep into their thoughts and feelings as they relive this magical moment in pop culture history in this full color oral history.   New Interviews with: Cybill Shepherd (Maddie Hayes), Allyce Beasley (Ms. Dipesto), Curtis Armstrong (Herbert Viola), Glenn Gordon Caron Creator, Executive Producer, Writer Jay Daniel Executive Producer, Director Roger Director Writer, Producer, Season 4 Showrunner Allan Arkush Director Bob Butler and more.

    Where do she and her guests spend Christmas and how do they get there? The answers to these and many other questions are given in this intriguing and riveting account of what really goes on at a Royal Christmas, written by one of Britain’s leading Royal writers, and based on facts from impeccable sources at Buckingham Palace.Brian Hoey is acknowledged to be one of the most important Royal authors in the world, having written 28 books about the Royal Family. He conducted the first ever television interview with the Queen’s only daughter, Prince Anne, the Princess Royal, and also wrote her only official biography. He was a commentator at the wedding of Prince Charles and Princess Diana in 1981, and again, at the funeral of Diana in 1997, and his written work has appeared in countries throughout the world, particularly the United States, Canada, South Africa, Australia and New Zealand. Hoey has been a guest on many major radio and television shows in Britain and America, including the Today Show, Good Morning America and in Britain, This Morning.

    Unrestricted. No holds barred.In We Promised You a Great Main Event, longtime sports journalist Bill Hanstock pulls back the curtain to give a smart fan’s account of WWE and Vince McMahon’s journey to the top. Untangling the truth behind the official WWE storyline, Hanstock does a deep dive into key moments of the company’s history, from the behind-the-scenes drama at the Montreal Screwjob, to the company’s handling of the Jimmy Snuka scandal, to the real story of the Monday Night Wars.WWE is an extraordinary business success and an underappreciated pop cultural phenomenon. While WWE soared to prominence during the Hulk Hogan years, as the stakes grew more and more extreme, wrestlers faced steroid scandals and assault allegations. The whole story is here, good, bad, and ugly, from the heights of iconic cultural moments like Wrestlemania III to the arrival of global superstars like The Rock and John Cena.We Promised You a Great Main Event is an exhaustive, fun account of the McMahon family and WWE’s unprecedented rise. Drawing on a decade of covering wrestling, Bill Hanstock synthesizes insights from historians, journalists, and industry insiders with his own deep research to produce the most up-to-date, entertaining history of WWE available. Full of amazing characters and astonishing stories from the ring to corporate boardrooms, it is a story as audacious as any WWE spectacle.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.

    Bridging black feminist theory with disability studies, Schalk demonstrates that this genre's political potential lies in the authors' creation of bodyminds that transcend reality's limitations. She reads (dis)ability in neo-slave narratives by Octavia Butler (Kindred) and Phyllis Alesia Perry (Stigmata) not only as representing the literal injuries suffered under slavery, but also as a metaphor for the legacy of racial violence. The fantasy worlds in works by N. K. Jemisin, Shawntelle Madison, and Nalo Hopkinson—where werewolves have obsessive-compulsive-disorder and blind demons can see magic—destabilize social categories and definitions of the human, calling into question the very nature of identity. In these texts, as well as in Butler’s Parable series, able-mindedness and able-bodiedness are socially constructed and upheld through racial and gendered norms. Outlining (dis)ability's centrality to speculative fiction, Schalk shows how these works open new social possibilities while changing conceptualizations of identity and oppression through nonrealist contexts.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    Whether it's the show they watched growing up, or the one their parents did--whether adored, or great to poke fun at--The Brady Bunch is unarguably one of the most enduring and inspiring TV shows of our time. It's lived a dozen lives, from its original comedy debut and big-screen movies, to the Emmy-winning TV auteurs it has inspired--everyone from Vince Gilligan to Jill Soloway--and promises to live many more.In The Way We All Became the Brady Bunch, TV and pop culture writer Kimberly Potts will draw upon her deep knowledge of and appreciation for The Brady Bunch and television and pop culture history, as well as her contacts, connections, and experience, to provide an industry insider narrative of The Brady Bunch. With fresh interviews, The Way We All Became the Brady Bunch will examine the show's lasting effects on its audience and take readers behind-the-scenes and into the lives of our most beloved characters, all to document why The Brady Bunch was one of the most groundbreaking shows of its time--and why it remains to this day, unforgettable.

    This biography follows his development from a creative child and teenager who spent years away from his family at an elite English public school, through his early successes—which often turned into frustrating heartbreak in both television (Roseanne) and film (Buffy the Vampire Slayer)—to his breakout turn as the creator, writer, and director of the Buffy television series. Extensive, original interviews with Whedon’s family, friends, collaborators, and stars—and with the man himself—offer candid, behind-the-scenes accounts of the making of groundbreaking series such as Buffy, Angel, Firefly, and Dollhouse, as well as new stories about his work with Pixar writers and animators during the creation of Toy Story. Most importantly, however, these conversations present an intimate and revealing portrait of a man whose creativity and storytelling ability have manifested themselves in comics, online media, television, and film.

    Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.