Boats Against the Current


The title of this blog comes from the closing sentence of The Great Gatsby by F. Scott Fitzgerald: "So we beat on, boats against the current, borne back ceaselessly into the past."

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Title: Street Fighting Man Artist: The Rolling Stones 343 plays

Street Fighting Man — The Rolling Stones

So far, The Stones and The Velvet Underground have provided the soundtrack for this thesis. They’re helping me to get into the headspace of the radical set. With my pictures and soundtrack, this beast has become a multimedia experience. 

This came from a journalist at The East Village Other, from an article published a few days after Stonewall. I enjoyed it. 

When did you ever see a fag fight back? …Now, times are a changin’…Grumbling could be heard among the limp wristed set. Predominantly, the theme was, “this shit has got to stop!

f.lux ›

E. showed me this and I installed it yesterday. Goodbye computer glare! I will never miss you.

Here’s an explanation in the software provider’s own words:

During the day, computer screens look good—they’re designed to look like the sun. But, at 9PM, 10PM, or 3AM, you probably shouldn’t be looking at the sun.

f.lux fixes this: it makes the color of your computer’s display adapt to the time of day, warm at night and like sunlight during the day.

It’s even possible that you’re staying up too late because of your computer. You could use f.lux because it makes you sleep better, or you could just use it just because it makes your computer look better.

It’s free. Do it. 

This “wintery mix” is unacceptable.

I vote for substituting the phrase “wintery mix” with “inner recesses of Hell”.

Analytical Lenses: Sociocultural and Political Approaches to the History of the Gay Rights Movement in the United States

  • Bram, Christopher. Eminent Outlaws: The Gay Writers Who Changed America. New York: Twelve, 2012.
  • Johnson, David K. The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government. Chicago: University of Chicago Press, 2004.

Contributions to the historiography of male homosexuality in the United States tend to use one of two analytical lenses. Although some authors use these lenses interchangeably, the majority tend to use one more than the other. Given the mass appeal and accessibility of such subjects, the “sociocultural lens” is both popular and critically acclaimed. It is through the “sociocultural lens” that authors address subjects such as literature, society, and everyday life. Monographs based on this form of analysis tend to identify and/or explain the existence of a “gay community” that often exhibits certain characteristics similar to those of an ethnic minority. With its comprehensive primary research, George Chauncey’s Gay New York remains one of the best academic examples of this approach. In 2012, Christopher Bram published an historical survey of gay writers entitled Eminent Outlaws. While clearly devised for the general public, Bram’s text suggests that this approach is alive and well in the historiography today.

The second analytical lens places greater emphasis on politics and public policy. While hardly a fast rule, these pieces are often intended for academic audiences and, as such, they utilize a wide array of primary source material. Although this approach may be traced back several decades to John D’Emilio’s Sexual Politics, Sexual Communities and Dennis Altman’s Homosexual Oppression and Liberation, David Johnson’s The Lavender Scare serves as a more recent example. Monographs of this type tend to revolve around a political chronology that—roughly outlined—includes a pre-World War II period characterized by apathetic exclusion or toleration, a postwar period defined by active oppression, and a modern/postmodern period characterized by “liberation”. Focusing on this periodization, monographs that use this approach often address the creation of, and reaction to, repressive government policies and legal discrimination.

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Pretty proud of the portraiture on this roll…