From Vampire to Apollo: William Blake's Ghosts of the Flea (c. 1819-20)

Varley’s Zodiacal Physiognomy and Blake’s Visionary Heads are the two mainstays of a project which involved séance-like meetings at Varley’s house. While the lights were still on, Varley’s guests would have listened to the stories about the flea. With The Ghost of a Flea in front of them, the recitals of the flea’s pompous speeches, combined with the fact that it was just a ghost who leered after human blood, Varley’s guests may have laughed very heartily, if not in front of him then behind his back. Each evening followed the same protocol. When the lights were off, Varley would call out a name and Blake would look around, suddenly exclaiming ‘There he is!’ and start drawing. The flea is the most striking of the Visionary Heads, though it is not the only head which exists in different versions. If appearance is elemental to any kind of judgement of one human being of another, then Blake deliberately confused Varley. By working up the sketch, he played on Varley’s expectations; he presented him with an extraordinary and very puzzling painting, The Ghost of a Flea. But why, if Blake could have chosen any monster, did he settle on the ghost of a flea

Winnebago nation

In his book, teh writer takes a light-hearted look at the culture and industry behind the yearning to spend the night in one's car. For the young the roadtrip is a coming-of-age ceremony; for those later in life it is the realization of a lifelong desire to be spontaneous, nomadic, and free. Informed by his own experiences on the road, Twitchell recounts the RV's origins and evolution over the twentieth century; its rise, fall, and rebirth as a cultural icon; its growing mechanical complexity as it evolved from an estate wagon to a converted bus to a mobile home; and its role in bolstering and challenging conceptions of American identity

The Role of Ordinary Evaluations in the Market for Popular Culture: Do Consumers Have “Good Taste”?

If we define “good taste” as that prescribed by professional experts in a particular cultural field and ask whether ordinary consumers (non-experts or members of the mass audience) have “good taste,” the evidence from previous studies suggests that the relationship between expert judgments and popular appeal to ordinary consumers is significantly but only weakly positive and is therefore consistent with a phenomenon of “little taste.” Possible explanations stem from the consideration of a variable that might mediate and thereby weaken the relationship between expert judgments and popular appeal—namely, ordinary evaluations, in which non-expert consumers assess the excellence (rather than the enjoyability) of a cultural offering. An earlier experimental study of musical performances showed that ordinary evaluations did intervene between expert judgments and popular appeal to college students so that, in this sense, ordinary consumers did display aspects of “good taste”. New data on over 200 motion pictures corroborate this finding in another cultural context, with actual audience members, and through the use of real-world as opposed to experimental observations. Copyright Springer Science + Business Media, Inc. 2005expert judgments, ordinary evaluations, popular appeal, professional critics, mass audiences, motion pictures, consumer tastes,