Jack Bennett considers the synthesis of Black and Indigenous culture in a radical musical genre.
Jack Graveney reads one of Brecht’s most famous plays as a polemic against the cult of historical heroism.
Srilekha Cherukuvada asks what a history of asylums and abuse tells us about what’s needed in the coming years.
The introduction of the Hays Code in 1934 changed the nature of a once boundary-pushing industry. Isabelle Drury considers its continuing effects.
Sam Radford writes on the legacy of More’s Utopia and the radical fantasies it has inspired.
Alex Stanton puts forward the case for including historiography in the school history curriculum.
Anusha Persson considers the power of DIY publishing in the construction of 20th-century Spanish feminism.
Connall Maclennan writes on how Cleve Jones’ memorial sets itself apart from other monuments.
Nick Batho writes on the power and authority of children’s words and views in anti-racist activism.
Hannah Ross asks what the history of women in advertising tells us about modern trends.
Isabella Hendricks discusses the consequences of the false declaration of terra nullius on Australian land.
As statues around the world fall, Carlotta Stewen examines the social and political legacy of a different kind of cultural icon.
George Evans considers the insights folktales and mythology offer historians into the thoughts and fears of common people.
The notorious Section 28 was repealed in 2003 – but 95% of young people still don’t learn about LGBT+ relationships in school. Liam Beattie argues that it’s time for that to change.
Mollie Watkins examines the contested role of labour pain relief in second-wave feminism.
Christopher Columbus has, for decades, been a symbol of Italian-American identity. Rachel Carr looks at how the community today is grappling with his legacy.
Greg Denholm examines how a pop-culture icon helped legitimise anti-Japanese prejudice during the war in the Pacific.
Ellen Knight tells the tale of the unconventional icons of early democracy.
Siavash Minoukadeh describes how successive governments drove the creation and consumption of art into the control of an elite few.
Joseph Callow recalls the golden days of a musical movement that swept the newly-independent Zambian nation.
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