The eight essays in Gambling, Space, and Time use a global and interdisciplinary approach to examine two significant areas of gambling studies that have not been widely explored--the ever-changing boundaries that divide and organize gambling spaces, and the cultures, perceptions, and emotions related to gambling. The contributors represent a variety of disciplines: history, geography, sociology, anthropology, political science, and law.

The essays consider such topics as the impact of technological advances on gambling activities, the role of the nation-state in the gambling industry, and the ways that cultural and moral values influence the availability of gambling and the behavior of gamblers. The case studies offer rich new insights into a gambling industry that is both a global phenomenon and a powerful engine of local change.

Games in the Global Village compares and contrasts television game shows in fifty countries. These shows have a “blank-slate” quality that makes them ideal for comparing entertainment television across borders.
Game shows can run the gamut of many subject areas or focus on one, such as rock music (MTV’s Remote Control) or football (ESPN's NFL Trivia Game). They can spotlight dazzlingly high IQs (the BBC’s erudite Mastermind) or nude assistants and contestants (Germany’s Tutti Frutti). They can limp along in mid-morning time slots or smash the competition in prime time (France’s La Roue de la Fortune).
    This is the first comprehensive comparison of TV entertainment content, and it gives new meaning to McLuhan’s concept of the “Global Village.”

In 2016, a female videogame programmer and a female journalist were harassed viciously by anonymous male online users in what became known as GamerGate. Male gamers threatened to rape and kill both women, and the news soon made international headlines, exposing the level of abuse that many women and minorities face when participating in the predominantly male online culture.

Gaming Masculinity explains how the term “gamer” has been constructed in the popular imagination by a core group of male online users in an attempt to shore up an embattled form of geeky masculinity. This latest form of toxicity comes at a moment of upheaval in gaming culture, as women, people of color, and LGBTQ individuals demand broader access and representation online. Paying close attention to the online practices of trolling and making memes, author Megan Condis demonstrates that, despite the supposedly disembodied nature of life online, performances of masculinity are still afforded privileged status in gamer culture. Even worse, she finds that these competing discourses are not just relegated to the gaming world but are creating rifts within the culture at large, as witnessed by the direct links between the GamerGate movement and the recent rise of the alt-right during the last presidential election.

Condis asks what this moment can teach us about the performative, collaborative, and sometimes combative ways that American culture enacts race, gender, and sexuality. She concludes by encouraging designers and those who work in the tech industry to think about how their work might have, purposefully or not, been developed in ways that are marked by gender.

"The time is surely right to draw attention to Voltairine de Cleyre, one of the most uncompromisingly revolutionary of all American women writers . . . [Gates of Freedom] gives a fine selection of de Cleyre's work, while articulating it to contemporary critical and cultural concerns . . . . The book's organization, its tendency to tackle the most difficult issues head on, and its careful selection of published and unpublished work are all superb."
---Cary Nelson, University of Illinois

"The question of souls is old; we demand our bodies, now." These words are not from a feminist manifesto of the late twentieth century, but from a fiery speech given a hundred years earlier by Voltairine de Cleyre, a leading anarchist and radical thinker. A contemporary of Emma Goldman---who called her "the most gifted and brilliant anarchist woman America ever produced"---de Cleyre was a significant force in a major social movement that sought to transform American society and culture at its root. But she belongs to a group of late-nineteenth-century freethinkers, anarchists, and sex-radicals whose writing continues to be excluded from the U.S. literary and historical canon.

Gates of Freedom considers de Cleyre's speeches, letters, and essays, including her most well known essay, "Sex Slavery." Part I brings current critical concerns to bear on de Cleyre's writings, exploring her contributions to the anarchist movement, her analyses of justice and violence, and her views on women, sexuality, and the body. Eugenia DeLamotte demonstrates both de Cleyre's literary significance and the importance of her work to feminist theory, women's studies, literary and cultural studies, U.S. history, and contemporary social and cultural analysis. Part II presents a thematically organized selection of de Cleyre's stirring writings, making Gates of Freedom appealing to scholars, students, and anyone interested in Voltairine de Cleyre's fascinating life and rousing work.

Like the nation that it symbolizes, the bold arch of the Jefferson National Expansion Memorial poses enormous contradictions. It is a simple, classical architectural form constructed with the most sophisticated modern engineering. It is a national historic site created by demolishing nearly forty blocks of historic riverfront buildings. It is the perfect place to examine critical, historic tensions in American culture.

At dinnertime: check. At a traffic light: check. In bed at the end of the day: check. In line at the coffee shop: check. In The Geek’s Chihuahua, Ian Bogost addresses the modern love affair of “living with Apple” during the height of the company’s market influence and technology dominance. 

The ubiquitous iPhone and its kin saturate our lives, changing everything from our communication to our posture. Bogost contrasts the values of Apple’s massive success in the twenty-first century with those of its rise in the twentieth. And he connects living with Apple with the phenomenon of “hyperemployment”—the constant overwork of today’s technological life that all of us now experience. Bogost also reflects on the new potential function—as well as anxiety and anguish—of devices like the Apple Watch. We are tethered to our devices, and, as Bogost says: that’s just life—anxious, overworked, and utterly networked life. 

Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

This volume of recent Signs articles offers some of the most significant contributions to the debates on history and theory. Illustrating the uses of theories in recent feminist historical research and the often contentious arguments that surround them, the articles speak to a number of discussions, including the theoretical tradition of political economy, the importance of class relations for understanding historical events and social relationships, and the expansion of concepts from political economy to include race. Included as well are the workings of gender signification in terms of the body, moving it from its traditionally lesser position in the hierarchical Enlightenment mind/body split. A further group of articles concerns the discursive character of power relations and the dialogic quality of language. The volume will be extremely useful for feminist historians in a variety of disciplines as well as women's studies students interested in issues of interdisciplinarity.

For the past twenty years, the work of Michelle Z. Rosaldo has had a profound impact on feminism and anthropology. Gender Matters commemorates her central role in shaping anthropological work and points toward new directions for critical inquiry based on a reconsideration of Rosaldo's theoretical and political interventions.
With the publication of Woman, Culture, and Society in 1974, Michelle Rosaldo initiated nothing less than a reconstruction of anthropology that placed feminist analysis at the center of the discipline. Through a rereading of Rosaldo's ideas and arguments, this collection provides in-depth analysis of Rosaldo's many contributions to anthropology and feminism. Each of the essays derives theoretically and politically useful insights from Rosaldo's work and sets them in motion for new intellectual and political practices. The authors do not always share Rosaldo's perspectives, nor do they necessarily agree with each other. But, together, they point to exciting syntheses of old and new feminist theory and practice.
Alejandro Lugo is Assistant Professor of Anthropology and Latina/o Studies, University of Illinois at Urbana-Champaign. Bill Maurer is Assistant Professor of Anthropology, University of California at Irvine.

The essays in Gender Studies explore relationships between gender and creativity, identity, and genre within the context of literary analysis. Some of the essays are psychoanalytic in approach in that they seek to discover the sexual dynamic/s involved in the creation of literature as an art form. Still others attempt to isolate and examine the sexual attitudes inherent in the works of particular authors or genres, or to determine how writers explore the sensibilities of each gender.

Gendered Defenders: Marvel’s Heroines in Transmedia Spaces delivers dynamic and original analyses of how women perform in super heroic spaces. Contributors from a range of disciplinary perspectives—communications, international relations, cultural and media studies, English, history, and public policy—take on Marvel’s representations of women and gender to examine how relations of power are (re)produced, understood, and challenged. Through vivid retellings of character-based scenarios, these essays examine Carol Danvers, Jessica Jones, Ms. Marvel, Shuri, Pepper Potts, Black Widow, and Squirrel Girl across media forms to characterize and critique contemporary understandings of identity, feminism, power, and gender. Collectively, Gendered Defenders challenges notions about female identity while illuminating the multidimensional portrayals that are enabled by the form of speculative fiction. Making explicit the connections between women’s lived experiences and the imagined exploits of superheroines, contributors explore how these pop culture narratives can help us understand real-world gender dynamics and prepare pedagogical, political, and social strategies for dealing with them. Contributors: Bryan J. Carr, Meta G. Carstarphen, Julie A. Davis, Rachel Grant, Annika Hagley, Amanda K. Kerhberg, Gregory P. Perreault, Mildred F. Perreault, CarrieLynn D. Reinhard, Maryanne A. Rhett, Stephanie L. Sanders, J. Richard Stevens, Anna C. Turner, Kathleen M. Turner-Ledgerwood, Robert Westerfelhaus

What do Amsterdam prostitutes, NASA astronauts, cross-dressing texts, and Star Trek characters have in common? Only Marleen Barr knows for sure. In Genre Fission, the award-winning author revitalizes literary and cultural theory by proposing an entirely new discourse practice of examining the points where genres and attendant meanings first converge, then reemerge as something new. Part literary analysis, part cultural studies, part feminist critique flavored with a smattering of science fiction and utopian studies, it is witty and eccentric, entertaining and enlightening.

Barr expands postmodern assumptions about cultural studies by suggesting that "genre fission" is occurring among discrete literary and cultural "types" of events--mainstream novels, science fiction, historical narratives, film, paintings, and museum displays. For her literary insights, Barr turns her attention to such mainstream authors as Saul Bellow, John Updike, Marge Piercy, and John Barth as well as science fiction writers Ursula Le Guin and Octavia Butler and Hispanic American writers Julia Alvarez, Ana Castillo, and Cristina García, among others.

Barr moves from literary to culture studies by addressing such phenomena from contemporary mass culture as the urban landscapes of New York and Los Angeles, Jackie Kennedy, the Star Trek industry, Lynn Redgrave, Amsterdam's red light district, Lorena Bobbitt, and the Apollo astronauts--to provide only a few of the relevant examples. Thus Genre Fission attains what Barr herself designates (in describing the art of Judy Chicago and Lee Bontecou) as "utopian interweavings of difference," crossing numerous boundaries in order to frame a larger territory for exploration.

Although most people think "Generation X" is a recently coined label for the post–Baby Boom generation, since the early 1950s the phrase has signified a seemingly identity-less group of young people trying to define themselves within an uncertain, even hostile world. GenXegesis: Essays on Alternative Youth (Sub)Culture is the first collection of critical essays on Generation X.
    Resituating the term in its neglected (sub)cultural context, the contributors offer a critical assessment of the "Generation X" phenomenon and its relation to the fashioning of differing identities within and against the mainstream. The essays explore a variety of topics, including punk subculture, alternative music, reality television, postmodernism, and the Internet. Together, the contributors share a refreshingly self-conscious approach to Generation X’s precarious, often paradoxical position as an alternative to the mainstream. This collection will be enjoyed by scholars, graduate and undergraduate students, and anyone interested in popular culture, including Gen-Xers themselves.

George Clayton Johnson was an up-and-coming short story writer who broke into Hollywood in a big way when he co-wrote the screenplay for Ocean’s Eleven. More legendary works followed, including Logan’s Run and classic scripts for shows like The Twilight Zone and Star Trek. In the meantime, he forged friendships with some of the era’s most visionary science fiction writers, including Ray Bradbury, Theodore Sturgeon, Richard Matheson, and Rod Serling. 
 
Later in life, Johnson befriended comics journalist and artist Henry Chamberlain, and the two had long chats about his amazing life and career. Now Chamberlain pays tribute to his late friend in the graphic novel George’s Run, which brings Johnson’s creative milieu to life in vividly illustrated color panels. The result feels less like reading a conventional biography and more like sitting in on an intimate conversation between friends as they recollect key moments in pop culture history, as well as the colorful band of writers known as the “Rat Pack of Science Fiction.” 

What is the work of film in the age of transnational production? To answer that question, Randall Halle focuses on the film industry of Germany, one of Europe's largest film markets and one of the world's largest film-producing nations. In the 1990s Germany experienced an extreme transition from a state-subsidized mode of film production that was free of anxious concerns about profit and audience entertainment to a mode dominated by private interest and big capital. At the same time, the European Union began actively drawing together the national markets of Germany and other European nations, sublating their individual significances into a synergistic whole. This book studies these changes broadly, but also focuses on the transformations in their particular national context. It balances film politics and film aesthetics, tracing transformations in financing along with analyses of particular films to describe the effects on the film object itself. Halle concludes that we witness currently the emergence of a new transnational aesthetic, a fundamental shift in cultural production with ramifications for communal identifications, state cohesion, and national economies.

Gift Giving brings together 21 scholars from a variety of disciplines—including consumer behavior, communications, and sociology—who are dedicated to the understanding of what motivates gift selection, presentation, and incorporation of a gift into a person's life.

The period 1885 to 1917 saw thousands of American crusaders working hard to “save the fallen women,” but little on the part of American social protest writers. In this first work on the subject, Laura Hapke examines how writers attempted to turn an outcast into a heroine in a literature otherwise known for its puritanical attitude toward the fallen woman. She focuses on how these authors (all male) expressed late-Victorian conflicts about female sexuality. If, as they all maintained, women have an innate preference for chastity, how could they account for the prostitute? Was she a sinner, suggesting the potential waywardness of all women? Or, if she was a victim, what of her “depravity”?
 

This daring collaborative effort showcases dialogues between international scholars engaged with the United States from abroad. The writers investigate the analytic methods and choices that label certain talk, images, behaviors, and allusions as "American" and how to read the data on such material. The editors present the essays in pairs that overlap in theme or region. Each author subsequently comments on the other's work. A third scholar or team of scholars from a different discipline or geographic location then provides another level of analysis. Contributors: Andrzej Antoszek, Sophia Balakian, Zsófia Bán, Sabine Bröck, Ian Condry, Kate Delaney, Jane C. Desmond, Virginia R. Dominguez, Ira Dworkin, Richard Ellis, Guillermo Ibarra, Seyed Mohammad Marandi, Giorgio Mariani, Ana Mauad, Loes Nas, Edward Schatz, Manar Shorbagy, Kristin Solli, Amy Spellacy, and Michael Titlestad.

Global Sex is the first major work to take on the globalization of sexuality, examining the ways in which desire and pleasure—as well as ideas about gender, political power, and public health—are framed, shaped, or commodified by a global economy in which more and more cultures move into ever-closer contact.

In a world that is witnessing the explosive forces of individualism, tribalism, cultism, religion, nationalism, and regionalism, can the “global village” concept as envisioned by Marshall McLuhan have any meaning or hope for fruition? Do the media merely electronically override the stronger forces of basic human expression without in any way changing them?
    The Global Village offers fifteen essays by leading scholars and thinkers who weigh the pros and cons and come up with individual conclusions as well as a consensus. Included are “Turning McLuhan on His Head” by James E. Grunig, “The Vanishing Global Village” by Ray B. Browne, and “Global Village—Writ Small” by Marshall Fishwick. This book speaks to concerns in journalism, media, popular culture, and communications.

What might Heidegger say about Halo, the popular video game franchise, if he were alive today? What would Augustine think about Assassin’s Creed? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are becoming the defining medium of our time. We spend more time and money on video games than on books, television, or film, and any serious thinker of our age should be concerned with these games, what they are saying about us, and what we are learning from them.

Yet video games remain relatively unexplored by both scholars and pundits alike. Few have advanced beyond out­moded and futile attempts to tie gameplay to violent behavior. With this rumor now thoroughly and repeatedly disproven, it is time to delve deeper. Just as the Museum of Modern Art in Manhattan recently acquired fourteen games as part of its permanent collection, so too must we seek to add a serious consideration of virtual worlds to the pantheon of philosophical inquiry.

In God in the Machine, author Liel Leibovitz leads a fas­cinating tour of the emerging virtual landscape and its many dazzling vistas from which we are offered new vantage points on age-old theological and philosophical questions. Free will vs. determinism, the importance of ritual, transcendence through mastery, notions of the self, justice and sin, life, death, and resurrection all come into play in the video games that some critics so quickly write off as mind-numbing wastes of time. When one looks closely at how these games are designed, their inherent logic, and their cognitive effects on players, it becomes clear that playing these games creates a state of awareness vastly different from when we watch television or read a book. Indeed, the gameplay is a far more dynamic process that draws on various faculties of mind and body to evoke sensa­tions that might more commonly be associated with religious experience. Getting swept away in an engaging game can be a profoundly spiritual activity. It is not to think, but rather to be, a logic that sustained our ancestors for millennia as they looked heavenward for answers.

As more and more of us look “screenward,” it is crucial to investigate these games for their vast potential as fine instruments of moral training. Anyone seeking a concise and well-reasoned introduction to the subject would do well to start with God in the Machine. By illuminating both where video game storytelling is now and where it currently butts up against certain inherent limitations, Liebovitz intriguingly implies how the field and, in turn, our experiences might continue to evolve and advance in the coming years.

The rituals of religion these days as practiced in the United States on television, have become big theatre, a big show. Televangelism is big business, amounting to billions of dollars each year. Televangelists discussed are Billy Graham, Jimmy Swaggert, Jerry Falwell, Jim and Tammy Bakker, Terry Cole-Whittaker, Marilyn Hickey, Danuto Rylko Soderman, and Beverly LaHaye.

Gods in the Bazaar is a fascinating account of the printed images known in India as “calendar art” or “bazaar art,” the color-saturated, mass-produced pictures often used on calendars and in advertisements, featuring deities and other religious themes as well as nationalist leaders, alluring women, movie stars, chubby babies, and landscapes. Calendar art appears in all manner of contexts in India: in chic elite living rooms, middle-class kitchens, urban slums, village huts; hung on walls, stuck on scooters and computers, propped up on machines, affixed to dashboards, tucked into wallets and lockets. In this beautifully illustrated book, Kajri Jain examines the power that calendar art wields in Indian mass culture, arguing that its meanings derive as much from the production and circulation of the images as from their visual features.

Jain draws on interviews with artists, printers, publishers, and consumers as well as analyses of the prints themselves to trace the economies—of art, commerce, religion, and desire—within which calendar images and ideas about them are formulated. For Jain, an analysis of the bazaar, or vernacular commercial arena, is crucial to understanding not only the calendar art that circulates within the bazaar but also India’s postcolonial modernity and the ways that its mass culture has developed in close connection with a religiously inflected nationalism. The bazaar is characterized by the coexistence of seemingly incompatible elements: bourgeois-liberal and neoliberal modernism on the one hand, and vernacular discourses and practices on the other. Jain argues that from the colonial era to the present, capitalist expansion has depended on the maintenance of these multiple coexisting realms: the sacred, the commercial, and the artistic; the official and the vernacular.

A study of prostitution in 19th-century Virginia City

There are some two hundred TV markets in the country, but only one—Boston, Massachusetts—hosted a Golden Age of local programming. In this lively insider account, Terry Ann Knopf chronicles the development of Boston television, from its origins in the 1970s through its decline in the early 1990s. During TV’s heyday, not only was Boston the nation’s leader in locally produced news, programming, and public affairs, but it also became a model for other local stations around the country. It was a time of award-winning local newscasts, spirited talk shows, thought-provoking specials and documentaries, ambitious public service campaigns, and even originally produced TV films featuring Hollywood stars. Knopf also shows how this programming highlighted aspects of Boston’s own history over two turbulent decades, including the treatment of highly charged issues of race, sex, and gender—and the stations’ failure to challenge the Roman Catholic Church during its infamous sexual abuse scandal. Laced with personal insights and anecdotes, The Golden Age of Boston Television offers an intimate look at how Boston’s television stations refracted the city’s culture in unique ways, while at the same time setting national standards for television creativity and excellence.

Dolly Parton isn’t just a country music superstar. She has built an empire. At the heart of that empire is Dollywood, a 150-acre fantasy land that hosts three million people a year. Parton’s prodigious talent and incredible celebrity have allowed her to turn her hometown into one of the most popular tourist destinations in America. The crux of Dollywood’s allure is its precisely calibrated Appalachian image, itself drawn from Parton’s very real hardscrabble childhood in the mountains of east Tennessee.

What does Dollywood have to offer besides entertainment? What do we find if we take this remarkable place seriously? How does it both confirm and subvert outsiders’ expectations of Appalachia? What does it tell us about the modern South, and in turn what does that tell us about America at large? How is regional identity molded in service of commerce, and what is the interplay of race, gender, and class when that happens?

In Gone Dollywood, Graham Hoppe blends tourism studies, celebrity studies, cultural analysis, folklore, and the acute observations and personal reflections of longform journalism into an unforgettable interrogation of Southern and American identity.

Since it first emerged from Britain’s punk-rock scene in the late 1970s, goth subculture has haunted postmodern culture and society, reinventing itself inside and against the mainstream. Goth: Undead Subculture is the first collection of scholarly essays devoted to this enduring yet little examined cultural phenomenon. Twenty-three essays from various disciplines explore the music, cinema, television, fashion, literature, aesthetics, and fandoms associated with the subculture. They examine goth’s many dimensions—including its melancholy, androgyny, spirituality, and perversity—and take readers inside locations in Los Angeles, Austin, Leeds, London, Buffalo, New York City, and Sydney. A number of the contributors are or have been participants in the subculture, and several draw on their own experiences.

The volume’s editors provide a rich history of goth, describing its play of resistance and consumerism; its impact on class, race, and gender; and its distinctive features as an “undead” subculture in light of post-subculture studies and other critical approaches. The essays include an interview with the distinguished fashion historian Valerie Steele; analyses of novels by Anne Rice, Poppy Z. Brite, and Nick Cave; discussions of goths on the Internet; and readings of iconic goth texts from Bram Stoker’s Dracula to James O’Barr’s graphic novel The Crow. Other essays focus on gothic music, including seminal precursors such as Joy Division and David Bowie, and goth-influenced performers such as the Cure, Nine Inch Nails, and Marilyn Manson. Gothic sexuality is explored in multiple ways, the subjects ranging from the San Francisco queercore scene of the 1980s to the increasing influence of fetishism and fetish play. Together these essays demonstrate that while its participants are often middle-class suburbanites, goth blurs normalizing boundaries even as it appears as an everlasting shadow of late capitalism.

Contributors: Heather Arnet, Michael Bibby, Jessica Burstein, Angel M. Butts, Michael du Plessis, Jason Friedman, Nancy Gagnier, Ken Gelder, Lauren M. E. Goodlad, Joshua Gunn, Trevor Holmes, Paul Hodkinson, David Lenson, Robert Markley, Mark Nowak, Anna Powell, Kristen Schilt, Rebecca Schraffenberger, David Shumway, Carol Siegel, Catherine Spooner, Lauren Stasiak, Jeffrey Andrew Weinstock

Editorial cartoonists are buffeted by unprecedented challenges from global computer information networks. Newspapers fail, colleagues are dismissed or harried, and they tussle over “selling” gags rather than satire. Graphic Opinions offers a path-breaking group portrait of these artists’ attempts to reconcile economics with a sense of
calling.
    The editors examine the current work and opinions of two dozen prominent cartoonists through profiles and essays about political and social issues. Four examples by each cartoonist illustrate this.

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese.

The Great Art Hoax exposes the real fakery and hypocrisy of the art world: how art is manufactured and marketed; how the pathology of private possession drives up the price; and how false art is hyped as true art to the tune of millions of dollars. Jon Huer demonstrates convincingly that what the art market deals as art need not be “art” at all.

The Native American inhabitants of North America’s Great Basin have a long, eventful history and rich cultures. Great Basin Indians: An Encyclopedic History covers all aspects of their world. The book is organized in an encyclopedic format to allow full discussion of many diverse topics, including geography, religion, significant individuals, the impact of Euro-American settlement, wars, tribes and intertribal relations, reservations, federal policies regarding Native Americans, scholarly theories regarding their prehistory, and others. Author Michael Hittman employs a vast range of archival and secondary sources as well as interviews, and he addresses the fruits of such recent methodologies as DNA analysis and gender studies that offer new insights into the lives and history of these enduring inhabitants of one of North America’s most challenging environments.

Great Basin Indians is an essential resource for any reader interested in the Native peoples of the American West and in western history in general.  

Critics often claim that prime-time television seemed immune—or even willfully blind—to the landmark upheavals rocking American society during the 1960s. Groove Tube is Aniko Bodroghkozy’s rebuttal of this claim. Filled with entertaining and enlightening discussions of popular shows of the time—such as The Monkees, The Smothers Brothers Comedy Hour, The Mod Squad—this book challenges the assumption that TV programming failed to consider or engage with the decade’s youth-lead societal changes.
Bodroghkozy argues that, in order to woo an increasingly lucrative baby boomer audience, television had to appeal to the social and political values of a generation of young people who were enmeshed in the hippie counterculture, the antiwar movement, campus protests, urban guerilla action—in general, a culture of rebellion. She takes a close look at the compromises and negotiations that were involved in determining TV content, as well as the ideological difficulties producers and networks faced in attempting to appeal to a youthful cohort so disaffected from dominant institutions. While programs that featured narratives about hippies, draft resisters, or revolutionaries are examined under this lens, Groove Tube doesn’t stop there: it also examines how the nation’s rebellious youth responded to these representations. Bodroghkozy explains how, as members of the first “TV generation,” some made sense of their societal disaffection in part through their childhood experience with this powerful new medium.
Groove Tube will interest sociologists, American historians, students and scholars of television and media studies, and others who want to know more about the 1960s.

Chicago is a city known for its fabulous architecture and public sculpture by artists such as Picasso and Calder, but anyone who has seen the gorgeous lunettes in the Auditorium Theater or the South Side's Wall of Respect, which inaugurated the city's contemporary mural movement, knows that Chicago has an equally rich tradition of mural painting. Through these murals, the history of Chicago and the nation is writ in churches and lobbies, on viaducts and school walls. Mary Gray's A Guide to Chicago's Murals is the first definitive handbook to the treasures that can be found all over the city.

With full-color illustrations of nearly two hundred Chicago murals and accompanying entries that describe their history—who commissioned them and why, how artists collaborated with architects, the subjects of the murals and their contexts—A Guide to Chicago's Murals serves both a general and a specific audience. Divided into easy-to-read geographical sections with useful maps for walking tours, it is the perfect companion for tourists or Chicagoans interested in coming to know better this aspect of the city's history. Gray also provides crucial information on lesser-known artists and on murals that have been destroyed over the years, filling a gap in the visual record of the city's development.

Gray also includes biographies of more than 150 artists and a glossary of key terms, making A Guide to Chicago's Murals essential reading for mural viewing. From post offices to libraries, fieldhouses to banks, and private clubs to street corners, Mary Gray chronicles the amazing works of artists who have sought to make public declarations in this most social of art forms.

"A major lacuna in the history of art in Chicago has been filled, with the thoroughness of the research proportionate to the richness of the material revealed."—From the Foreword by Franz Schulze

"Gray's book . . . can function as a guidebook, as the murals are conveniently arranged according to the quadrants of the city. But the book is also beautiful to look at and indespensable as art history and Chicago history as well. . . . This book is a wonderful guide to Chicago's rich and unique mural tradition."—Elizabeth Alexander, Chicago Tribune Books

"If you love art and history, this is a book you'll truly enjoy."—Al Paulson, Utne Reader