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From the cultural critic Wired called “provocative and cuttingly humorous” comes a viciously funny, joltingly insightful collection of drive-by critiques of contemporary America where chaos is the new normal. Exploring the darkest corners of the national psyche and the nethermost regions of the self—the gothic, the grotesque, and the carnivalesque—Mark Dery makes sense of the cultural dynamics of the American madhouse early in the twenty-first century.

Here are essays on the pornographic fantasies of Star Trek fans, Facebook as Limbo of the Lost, George W. Bush’s fear of his inner queer, the theme-parking of the Holocaust, the homoerotic subtext of the Super Bowl, the hidden agendas of IQ tests, Santa’s secret kinship with Satan, the sadism of dentists, Hitler’s afterlife on YouTube, the sexual identity of 2001’s HAL, the suicide note considered as a literary genre, the surrealist poetry of robot spam, the zombie apocalypse, Lady Gaga, the Church of Euthanasia, toy guns in the dream lives of American boys, and the polymorphous perversity of Madonna’s big toe.

Dery casts a critical eye on the accepted order of things, boldly crossing into the intellectual no-fly zones demarcated by cultural warriors on both sides of America’s ideological divide: controversy-phobic corporate media, blinkered academic elites, and middlebrow tastemakers. Intellectually omnivorous and promiscuously interdisciplinary, Dery’s writing is a generalist’s guilty pleasure in an age of nanospecialization and niche marketing. From Menckenesque polemics on American society and deft deconstructions of pop culture to unflinching personal essays in which Dery turns his scalpel-sharp wit on himself, I Must Not Think Bad Thoughts is a head-spinning intellectual ride through American dreams and American nightmares.

 

Originally published in 1948, at the height of post–World War II optimism and confidence in collective security, Ideas Have Consequences uses “words hard as cannonballs” to present an unsparing diagnosis of the ills of the modern age. Widely read and debated at the time of its first publication, the book is now seen as one of the foundational texts of the modern conservative movement.

In its pages, Richard M. Weaver argues that the decline of Western civilization resulted from the rising acceptance of relativism over absolute reality. In spite of increased knowledge, this retreat from the realist intellectual tradition has weakened the Western capacity to reason, with catastrophic consequences for social order and individual rights. But Weaver also offers a realistic remedy. These difficulties are the product not of necessity, but of intelligent choice. And, today, as decades ago, the remedy lies in the renewed acceptance of absolute reality and the recognition that ideas—like actions—have consequences. 

This expanded edition of the classic work contains a foreword by New Criterion editor Roger Kimball that offers insight into the rich intellectual and historical contexts of Weaver and his work and an afterword by Ted J. Smith III that relates the remarkable story of the book’s writing and publication.

Identity Papers was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

What does citizenship mean? What is the process of "naturalization" one goes through in becoming a citizen, and what is its connection to assimilation? How do the issues of identity raised by this process manifest themselves in culture? These questions, and the way they arise in contemporary France, are the focus of this diverse collection.

The essays in this volume range in subject from fiction and essay to architecture and film. Among the topics discussed are the 1937 Exposition Universelle; films dealing with Vichy France; François Truffaut's Histoire d'Adèle H.; the war of Algerian independence; and nation building under François Mitterrand.

Contributors: Anne Donadey, Elizabeth Ezra, Richard J. Golsan, Lynn A. Higgins, T. Jefferson Kline, Panivong Norindr, Shanny Peer, Rosemarie Scullion, David H. Slavin, Philip H. Solomon; Florianne Wild, .

Steven Ungar is professor of cinema and comparative literature at the University of Iowa and author of Scandal and Aftereffect: Blanchot and France since 1930 (Minnesota, 1995). Tom Conley is professor of French at Harvard University.

The Dutch scholar Rob Kroes argues that American culture is "modular,"
continually fragmenting, disassembling, and reassembling itself--and in
the process creating something new. In a series of topical essays that
show why he is one of Europe's leading authorities on American culture,
Kroes probes trends in American advertising, the image of the Vietnam
war in American films, the implications of American vernacular culture as represented in rap music, and other topics.
 

“If colonial America was the melting pot of modernity, it was because it was also a fabulous laboratory of images. . . . Just as much as speech and writing, the image can be a vehicle for all sorts of power and resistance.” So writes Serge Gruzinski in the introduction to Images at War, his striking reinterpretation of the Spanish colonization of Mexico. Concentrating on the political meaning of the baroque image and its function within a multicultural society, Gruzinski compares its ubiquity in Mexico to our modern fascination with images and their meaning.
Although the baroque image played a decisive role in many arenas, especially that of conquest and New World colonization, its powerful resonance in the sphere of religion is a focal point of Gruzinski’s study. In his analysis of how images conveyed meaning across linguistic barriers, he uncovers recurring themes of false images, less-than-perfect replicas, the uprooting of peoples and cultural memories, and the violence of iconoclastic destruction. He shows how various ethnic groups—Indians, blacks, Europeans—left their distinct marks on images of colonialism and religion, coopting them into expressions of identity or instruments of rebellion. As Gruzinski’s story unfolds, he tells of Aztec idols, the cult of the Virgin of Guadalupe, conquistadors, Franciscans, and neoclassical attempts to repress the baroque. In the final chapter he discusses the political and religious implications of contemporary imagery—such as that in Mexican soap operas—and speculates about the future of images in Latin America.
Originally written in French, this work makes available to an English audience a seminal study of Mexico and the role of the image in the New World.

This book of essays—carefully written by twenty-four authorities on their subjects—provides a deep understanding of and appreciation for the coherence, primacy, and importance of the search for identity in the divergent areas of Latin America, the Caribbean, and Europe.

Increased interest in Indonesian culture and politics is reflected in this work's effort to advance and reject various notions of what it means to be Indonesian. It also addresses perceptions of how Indonesia's citizens and state officials should interact. Because, in recent times, the Indonesian state has been so strong, much of the book is about state-sanctioned and state-supported notions of Indonesian identity and culture and efforts to come to terms with—or sometimes to challenge these official or dominant notions.

The contributions presented here represent a wide range of disciplines, points of view, and ideological orientations. Taken together they convey the notion that much might be gained if the idea were abandoned that a single understanding of what constitutes Indonesian culture is possible or desirable.

This rich interdisciplinary collection of essays advocates and models a hemispheric approach to the study of the Americas. Taken together, the essays examine North and South America, the Caribbean, and the Pacific as a broad region transcending both national boundaries and the dichotomy between North and South. In the volume’s substantial introduction, the editors, an anthropologist and a historian, explain the need to move beyond the paradigm of U.S. American Studies and Latin American Studies as two distinct fields. They point out the Cold War origins of area studies, and they note how many of the Americas’ most significant social formations have spanned borders if not continents: diverse and complex indigenous societies, European conquest and colonization, African slavery, Enlightenment-based independence movements, mass immigrations, and neoliberal economies.

Scholars of literature, ethnic studies, and regional studies as well as of anthropology and history, the contributors focus on the Americas as a broadly conceived geographic, political, and cultural formation. Among the essays are explorations of the varied histories of African Americans’ presence in Mexican and Chicano communities, the different racial and class meanings that the Colombian musical genre cumbia assumes as it is absorbed across national borders, and the contrasting visions of anticolonial struggle embodied in the writings of two literary giants and national heroes: José Martí of Cuba and José Rizal of the Philippines. One contributor shows how a pidgin-language mixture of Japanese, Hawaiian, and English allowed second-generation Japanese immigrants to critique Hawaii’s plantation labor system as well as Japanese hierarchies of gender, generation, and race. Another examines the troubled history of U.S. gay and lesbian solidarity with the Cuban Revolution. Building on and moving beyond previous scholarship, this collection illuminates the productive intellectual and political lines of inquiry opened by a focus on the Americas.

Contributors. Rachel Adams, Victor Bascara, John D. Blanco, Alyosha Goldstein, Héctor Fernández L’Hoeste, Ian Lekus, Caroline F. Levander, Susan Y. Najita, Rebecca Schreiber, Sandhya Shukla, Harilaos Stecopoulos, Michelle Stephens, Heidi Tinsman, Nick Turse, Rob Wilson

Widely regarded as the driest place on earth, the seemingly desolate Atacama Desert of Chile is a place steeped in intrigue and haunted by collective memories. This book, based on archival research and the author's personal field experiences, brings together the works of geographers, historians, anthropologists, botanists, geologists, astronomers, novelists, and others to offer a nuanced understanding of this complex desert landscape.

Beginning with the indigenous Atacameño peoples at the southern edge of the Incan empire, the volume moves through five hundred years of history, sharing accounts written by Spanish, French, German, Dutch, British, American, and other travelers—pirates, scientists, explorers, and entrepreneurs among them. The Atacama’s austere landscape hides many secrets, including vast mineral wealth, the world's oldest mummies, and the more recent remains of dissidents murdered by the regime of former Chilean dictator Augusto Pinochet in the early 1970s. Today numerous observatories operate under the Atacama’s clear night skies, astronauts train on the rugged desert floor, and tourists flock there for inspiration.

In addition to a rich set of narratives, the book features 115 images—historical maps, photographs, and natural history illustrations, most in full color—to tell a more complete and compelling story. Imagining the Atacama Desert shows how what was once a wilderness at the edges of empire became one of South America's most iconic regions, one that continues to lure those seeking adventure and the unknown. 
 

While scholars have long acknowledged the importance of artistic relationships between ancient Greece and the Near East, recent discourse on multi-culturalism and diversity has ignited new debate over these issues both among scholars and in the broader public. Charges and countercharges of historical revisionism and systematic undervaluation of the debt owed by ancient Greece to the Near East and Africa have polarized the debate and obscured the actual evidence. In Imports and Immigrants, Gail L. Hoffman explores the primary archaeological basis for such discussions, namely the preserved physical remains, providing a foundation for constructive discussion of the relations and exchanges between ancient Greece and the Near East.
Drawing together all the evidence and arguments for Near Eastern immigrants in Crete, Hoffman demonstrates there are basic problems with the accepted interpretations. Evidence of continued technical expertise casts doubt on the necessity of reintroduction, while careful scrutiny of the evidence supporting immigrant craftsmen reveals many inadequacies in the currently accepted analyses.
Imports and Immigrants identifies the need for reassessing all dimensions of the question of artistic relationships between ancient Greece and other regions of the Aegean basin and suggests new avenues of inquiry in this important debate. The volume also reassesses arguments made for the presence of Near Eastern immigrants in Crete. This book includes a catalogue indispensable for future work on these issues and illustrations of most of the known imports to Crete.
Gail L. Hoffman is Associate Professor of Greek Art and Archaeology, Department of Classics, Yale University.

Using black feminist theory and African American studies to read Victorian culture, Impossible Purities looks at the construction of “Englishness” as white, masculine, and pure and “Americanness” as black, feminine, and impure. Brody’s readings of Victorian novels, plays, paintings, and science fiction reveal the impossibility of purity and the inevitability of hybridity in representations of ethnicity, sexuality, gender, and race. She amasses a considerable amount of evidence to show that Victorian culture was bound inextricably to various forms and figures of blackness.
Opening with a reading of Daniel Defoe’s “A True-Born Englishman,” which posits the mixed origins of English identity, Brody goes on to analyze mulattas typified by Rhoda Swartz in William Thackeray’s Vanity Fair, whose mixed-race status reveals the “unseemly origins of English imperial power.” Examining Victorian stage productions from blackface minstrel shows to performances of The Octoroon and Uncle Tom’s Cabin, she explains how such productions depended upon feminized, “black” figures in order to reproduce Englishmen as masculine white subjects. She also discusses H.G. Wells’s The Island of Dr. Moreau in the context of debates about the “new woman,” slavery, and fears of the monstrous degeneration of English gentleman. Impossible Purities concludes with a discussion of Bram Stoker’s novella, “The Lair of the White Worm,” which brings together the book’s concerns with changing racial representations on both sides of the Atlantic.
This book will be of interest to scholars in Victorian studies, literary theory, African American studies, and cultural criticism.

Keith Thomas’s earlier studies in the ethnography of early modern England, Religion and the Decline of Magic, Man and the Natural World, and The Ends of Life, were all attempts to explore beliefs, values, and social practices in the centuries from 1500 to 1800. In Pursuit of Civility continues this quest by examining what English people thought it meant to be “civilized” and how that condition differed from being “barbarous” or “savage.” Thomas shows that the upper ranks of society sought to distinguish themselves from their social inferiors by distinctive ways of moving, speaking, and comporting themselves, and that the common people developed their own form of civility. The belief of the English in their superior civility shaped their relations with the Welsh, the Scots, and the Irish, and was fundamental to their dealings with the native peoples of North America, India, and Australia. Yet not everyone shared this belief in the superiority of Western civilization; the book sheds light on the origins of both anticolonialism and cultural relativism. Thomas has written an accessible history based on wide reading, abounding in fresh insights, and illustrated by many striking quotations and anecdotes from contemporary sources.

History is usually thought of as a tale of time, a string of events flowing in a particular chronological order. But as Karl Schlögel shows in this groundbreaking book, the where of history is just as important as the when. Schlögel relishes space the way a writer relishes a good story: on a quest for a type of history that takes full account of place, he explores everything from landscapes to cities, maps to railway timetables. Do you know the origin of the name “Everest”? What can the layout of towns tell us about the American Dream? In Space We Read Time reveals this and much, much more.

Here is both a model for thinking about history within physical space and a stimulating history of thought about space, as Schlögel reads historical periods and events within the context of their geographical location. Discussions range from the history of geography in France to what a town directory from 1930s Berlin can say about professional trades that have since disappeared. He takes a special interest in maps, which can serve many purposes—one poignant example being the German Jewish community’s 1938 atlas of emigration, which showed the few remaining possibilities for escape. Other topics include Thomas Jefferson’s map of the United States; the British survey of India; and the multiple cartographers with Woodrow Wilson at the Paris Peace Conference, where the aim was to redraw Europe’s boundaries on the basis of ethnicity. Moving deftly from the Austro-Hungarian Empire to 9/11 and from Vermeer’s paintings to the fall of the Berlin Wall, this intriguing book presents history from a completely new perspective.
 

The nineteenth- and twentieth-century relationship between European culture, German history, and the Jewish experience produced some of the West’s most powerful and enduring intellectual creations—and, perhaps in subtly paradoxical and interrelated ways, our century’s darkest genocidal moments. In Times of Crisis explores the flashpoints of this vexed relationship, mapping the coordinates of a complex triangular encounter of immense historical import.
    In essays that range from the question of Nietzsche’s legacy to the controversy over Daniel Goldhagen’s Hitler’s Willing Executioners, the distinguished historian Steven E. Aschheim presents this encounter as an ongoing dialogue between two evolving cultural identities. He touches on past dimensions of this exchange (such as the politics of Weimar Germany) and on present dilemmas of grasping and representing it (such as the Israeli discourse on the Holocaust). His work inevitably traces the roots and ramifications of Nazism but at the same time brings into focus historical circumstances and contemporary issues often overshadowed or distorted by the Holocaust.
    These essays reveal the ubiquitous charged inscriptions of Nazi genocide within our own culture and illuminate the projects of some later thinkers and historians—from Hannah Arendt to George Mosse to Saul Friedlander—who have wrestled with its problematics and sought to capture its essence. From the broadly historical to the personal, from the politics of Weimar Germany to the experience of growing up German Jewish in South Africa, the essays expand our understanding of German Jewish history in particular, but also of historical processes in general.

Las Vegas, says William Fox, is a pay-as-you-play paradise that succeeds in satisfying our fantasies of wealth and the excesses of pleasure and consumption that go with it. In this context, Fox examines how Las Vegas’s culture of spectacle has obscured the boundaries between high art and entertainment extravaganza, nature and fantasy, for-profit and nonprofit enterprises. His purview ranges from casino art galleries—including Steve Wynn’s private collection and a branch of the famed Guggenheim Museum—to the underfunded Las Vegas Art Museum; from spectacular casino animal collections like those of magicians Siegfried and Roy and Mandalay Bay’s Shark Reef exhibit to the city’s lack of support for a viable public zoo; from the environmental and psychological impact of lavish water displays in the arid desert to the artistic ambiguities intrinsic to Las Vegas’s floating world of showgirls, lapdancers, and ballet divas. That Las Vegas represents one of the world’s most opulent displays of private material wealth in all its forms, while providing miserly funding for local public amenities like museums and zoos, is no accident, Fox maintains. Nor is it unintentional that the city’s most important collections of art and exotic fauna are presented in the context of casino entertainment, part of the feast of sensation and excitement that seduces millions of visitors each year. Instead, this phenomenon shows how our insatiable modern appetite for extravagance and spectacle has diminished the power of unembellished nature and the arts to teach and inspire us, and demonstrates the way our society privileges private benefit over public good. Given that Las Vegas has been a harbinger of national cultural trends, Fox’s commentary offers prescient insight into the increasing commercialization of nature and culture across America.

John Stokes's lively study is an exercise in interdisciplinary criticism inspired by the decade it observes, the decade of Wilde, Shaw, Beardsley, and Sickert. No longer dismissed as merely transitional between the Victorian and the Modern, the 1890s have now come to be recognized as unique—a period of dramatic engagement between high culture and popular forms, one medium and another, art and life.

Spurning fixed boundaries, Stokes relates the controversial topics of the day—the status of the "New Journalism," the "degenerative" influence of Impressionist painting, the dubious morality of the music hall, the urgent need for prison reform, and the prevalence of suicide—to primary literary texts, such as The Ballad of Reading Gaol, The Importance of Being Earnest, Jude the Obscure, and Portrait of a Lady. And in the process, he explores crucial areas of sociological and psychological interest: criminality, sexuality, madness, and "morbidity."

Each of the book's six chapters opens with a look at the correspondence columns of daily newspapers and goes on, with a keen eye for the hidden link, to pursue a particular theme. Locations shift from Leicester Square and the Thames embankment to the Normandy coast and the Paris morgue and feature, along with famous names, a lesser known company of acrobats, convicts, aesthetes, "philistines," and mysterious suicides.

Nearly a century later, John Stokes's unrivalled knowledge of how the arts actually functioned in the nineties makes this book a major contribution to modern cultural studies.

Five hundred years ago, the army of conquest led by Hernan Cortés marched hundreds of miles across a rugged swath of land from Veracruz on the Mexican Caribbean to the capital city of the Aztecs, now Mexico City. This journey was the catalyst for profound cultural and political change in Mesoamerica. Today, many Mexicans view the Ruta de Cortés as a symbol of an event that forever changed the course of their history. But few U.S. Americans understand how the conquest still affects Mexicans’ national identity and their relationship with the United States.

Following the route of Hernán Cortés, In the Shadow of Cortés offers a visual and cultural history of the legacy of contact between Spaniards and indigenous civilizations. The book is a reflective journey that presents a diversity of voices, images, and ideas about history and conquest. Specialist in Mexican culture Kathleen Ann Myers teams up with prize-winning translators and photographers to offer a unique reading experience that combines accessible interpretative essays with beautifully translated interviews and dozens of historical and contemporary black-and-white and color images, including some by award-winner Steven Raymer. The result offers readers multiple perspectives on these pivotal events as imagined and re-envisioned today by Mexicans both in their homeland and in the United States.

In the Shadow of Cortés offers an extensive visual narrative about conquest and, ultimately, about Mexican history. It traces the symbolic geography of the conquest and shows how the historical memory of colonialism continues to shape lives today.

Indian Nation documents the contributions of Native Americans to the notion of American nationhood and to concepts of American identity at a crucial, defining time in U.S. history. Departing from previous scholarship, Cheryl Walker turns the "usual" questions on their heads, asking not how whites experienced indigenous peoples, but how Native Americans envisioned the United States as a nation. This project unfolds a narrative of participatory resistance in which Indians themselves sought to transform the discourse of nationhood.
Walker examines the rhetoric and writings of nineteenth-century Native Americans, including William Apess, Black Hawk, George Copway, John Rollin Ridge, and Sarah Winnemucca. Demonstrating with unique detail how these authors worked to transform venerable myths and icons of American identity, Indian Nation chronicles Native American participation in the forming of an American nationalism in both published texts and speeches that were delivered throughout the United States. Pottawattomie Chief Simon Pokagon’s "The Red Man’s Rebuke," an important document of Indian oratory, is published here in its entirety for the first time since 1893.
By looking at this writing through the lens of the best theoretical work on nationality, postcoloniality, and the subaltern, Walker creates a new and encompassing picture of the relationship between Native Americans and whites. She shows that, contrary to previous studies, America in the nineteenth century was intercultural in significant ways.

Via military conquest, Catholic evangelization, and intercultural engagement and struggle, a vast array of knowledge circulated through the Spanish viceroyalties in Mexico and the Andes. This collection highlights the critical role that indigenous intellectuals played in this cultural ferment. Scholars of history, anthropology, literature, and art history reveal new facets of the colonial experience by emphasizing the wide range of indigenous individuals who used knowledge to subvert, undermine, critique, and sometimes enhance colonial power. Seeking to understand the political, social, and cultural impact of indigenous intellectuals, the contributors examine both ideological and practical forms of knowledge. Their understanding of "intellectual" encompasses the creators of written texts and visual representations, functionaries and bureaucrats who interacted with colonial agents and institutions, and organic intellectuals.

Contributors. Elizabeth Hill Boone, Kathryn Burns, John Charles, Alan Durston, María Elena Martínez, Tristan Platt, Gabriela Ramos, Susan Schroeder, John F. Schwaller, Camilla Townsend, Eleanor Wake, Yanna Yannakakis
 

In Indigenous Media in Mexico, Erica Cusi Wortham explores the use of video among indigenous peoples in Mexico as an important component of their social and political activism. Funded by the federal government as part of its "pluriculturalist" policy of the 1990s, video indígena programs became social processes through which indigenous communities in Oaxaca and Chiapas engendered alternative public spheres and aligned themselves with local and regional autonomy movements.

Drawing on her in-depth ethnographic research among indigenous mediamakers in Mexico, Wortham traces their shifting relationship with Mexican cultural agencies; situates their work within a broader, hemispheric network of indigenous media producers; and complicates the notion of a unified, homogeneous indigenous identity. Her analysis of projects from community-based media initiatives in Oaxaca to the transnational Chiapas Media Project highlights variations in cultural identity and autonomy based on specific histories of marginalization, accommodation, and resistance.

On a long stretch of green coast in the South Pacific, hundreds of enormous, impassive stone heads stand guard against the ravages of time, war, and disease that have attempted over the centuries to conquer Easter Island. Steven Roger Fischer offers the first English-language history of Easter Island in Island at the End of the World, a fascinating chronicle of adversity, triumph, and the enduring monumentality of the island's stone guards.

A small canoe with Polynesians brought the first humans to Easter Island in 700 CE, and when boat travel in the South Pacific drastically decreased around 1500, the Easter Islanders were forced to adapt in order to survive their isolation. Adaptation, Fischer asserts, was a continuous thread in the life of Easter Island: the first European visitors, who viewed the awe-inspiring monolithic busts in 1722, set off hundreds of years of violent warfare, trade, and disease—from the smallpox, wars, and Great Death that decimated the island to the late nineteenth-century Catholic missionaries who tried to "save" it to a despotic Frenchman who declared sole claim of the island and was soon killed by the remaining 111 islanders. The rituals, leaders, and religions of the Easter Islanders evolved with all of these events, and Fischer is just as attentive to the island's cultural developments as he is to its foreign invasions.

Bringing his history into the modern era, Fischer examines the colonization and annexation of Easter Island by Chile, including the Rapanui people's push for civil rights in 1964 and 1965, by which they gained full citizenship and freedom of movement on the island. As travel to and interest in the island rapidly expand, Island at the End of the World is an essential history of this mysterious site.

Marshall Sahlins centers these essays on islands—Hawaii, Fiji, New Zealand—whose histories have intersected with European history. But he is also concerned with the insular thinking in Western scholarship that creates false dichotomies between past and present, between structure and event, between the individual and society. Sahlins's provocative reflections form a powerful critique of Western history and anthropology.

In this unique, comprehensive history of the 1970s, we learn about international developments: the war in Cambodia, Nixon's trip to China, the oil embargo and resulting gas shortage, the Mayaquez incident, the Camp David accords, the Iranian capture of the U.S. embassy and the taking of hostages, the ill-fated rescue mission. All this signaled a decline in American power and influence. We also learn about domestic politics: Kent State, the Pentagon Papers, Haynsworth and Carswell, the Eagleton affair, the rise of ticket splitting, inflation, recession, unemployment, Watergate, Agnew's resignation, the Saturday night massacre, Nixon's resignation, the pardon for draft evaders, Proposition 13, the politicization of organized religion, the conservative shift in the Democratic Party, and the Reagan electoral landslide. Carroll reminds us of tragedies and occasional moments of levity, bringing up the names Patricia Hearst, George Jackson and Angela Davis, Wilbur Mills and the Argentina Firecracker, Wayne Hays and Elizabeth Ray, Harvey Milk and Mayor George Moscone.