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Editor's Note The best thing about checking out e-books and audiobooks from the Central Arkansas Library System is the deadline to get them read before they vanish from my Kindle tablet. Instead of reporting the allegations and denials, reporters Emily Steel and Michael S. Schmidt documented millions of dollars in financial settlements that Fox News and host Bill O'Reilly had paid to female accusers over the years. [...]NBC News ran hot and cold on the Weinstein story, allowing Farrow and a production team to spend months and resources on reporting and video production only to conclude that the reporting didn't meet its journalistic standards. [...]sometimes (as I've noted in the impeachment hearings) we don't want to accept that an admired person is lying, no matter how overwhelming the evidence.

The scandals stemming from the sexual harassment allegedly committed by Harvey Weinstein, Roger Ailes, Les Moonves, Matt Lauer, Bill O'Reilly, Charlie Rose, Bryan Singer, Kevin Spacey, and many other prominent figures in the creative industries show the ineffectiveness of Title VII of the Civil Rights Act of1964, which prohibits sexual harassment in the workplace, in protecting artists and others in the creative industries. Among other deficiencies, Title VII does not protect independent contractors and limits recovery to, at most, $300,000 in compensatory and punitive damages. Since many people who work in the creative industries, including the top actors, do so as independent contractors, Title VII offers them no protection at all. Even for employees, Title VII's cap on damages diminishes, to a virtual null, the law's deterrence of powerful figures in the creative industries-some of whom earned $300,000 in less than a week. Not surprisingly, many of the accused harassers in Hollywood had no shortage offunds to pay \"hush money\" to their accusers, yet allegedly continued to sexually harass people for years. In an original survey of over 670 alleged incidents of sexual harassment, this Article analyzes the problem of sexual harassment in the creative industries-and the insidious role copyrighted works often played in facilitating a harasser's ability to carry out and continue the harassment or retaliation. This Article proposes a new way to address sexual harassment in the creative industries: enact federal legislation that prohibits sexual harassment in the development of works of authorship that receive federal copyrights. The proposed legislation is modeled on Title IX's prohibition of sex discrimination in educational institutions that receive federal funding- which carries, potentially, the ultimate penalty of the loss offederal funding for educational institutions that violate Title IX. Similarly, the proposed federal legislation authorizes a court to order the forfeiture of copyright for any work that has the requisite nexus to the sexual harassment or retaliation, if the violation was willful or wanton. A court-appointed trustee will oversee the copyright in the best interests of the public and the innocent individuals who participated in the development of the underlying work. The work would remain copyrighted for the remainder of the term, but the copyright would no longer be owned by the harasser or any entity complicit in the harassment.

Editor's Note I've never forgiven Bill Clinton for his selfish and completely inappropriate indulgence with Monica Lewinsky, but for years I disbelieved Paula Jones' claim that he dropped his trousers for her minutes after she was escorted to his room in what was then called the Excelsior Hotel. (Bloom isn't quite the enabler Ghislaine Maxwell allegedly was for Jeffrey Epstein, but her reputation as a defender of victimized women is probably not going to survive.) Bob Weinstein, who had been his brother's business partner for decades, told Twohey and Kantor that he had - tragically - misunderstood his brother's predatory behavior for years, even as he was party to millions of dollars in secret settlements. (Twohey had been part of a team that, even before Trump was the Republican Party's official nominee, reported on multiple women who described the kind of behavior that Americans would later hear him brag about in the \"Access Hollywood\" video.) Kantor and Twohey spent months reporting their first story on Weinstein, which was published in October 2017, just ahead of similar reporting by Ronan Farrow that was published in The New Yorker because NBC (then Matt Lauer's employer) had declined to air it.

In November 2005, at the AAA annual meeting in Washington D.C., both the Executive Board and the membership of the Society for Latin American Anthropology (SLAA), during separate meetings, approved the change of the society's name to Society for Latin American and Caribbean Anthropology (SLACA), and the change of the journal's name to Journal of Latin American and Caribbean Anthropology (JLACA). [...]when recently going on the journal pages on AnthroSource to check if all the current issues of the journal had been uploaded, I found out that in the first issue of the Latin American Anthropology Group Contributions (Volume 1, Number 1, 1976), one of the ancestors of JLAA, there were three articles on the \"Caribbean region:\" one by John Stewart on the \"Merikin\" Baptists of Trinidad; one by Michel Laguerre, entitled \"Belair, Port-auPrince: From Slave and Maroon Settlement to Contemporary Black Ghetto;\" and one by Evelyn Hutz and Edward Pierce on the perception of ethnicity among the Nengre of Surinam. Please contact JLAA's managing editor, Christi Navarro, at jlaa@fiu.edu, if you are interested in reviewing a book or film.

Emily Steinlight offers a similar analysis of Eliot's fiction and realist fiction more broadly (as I did in The Private Rod).4 In spite of the careful way in which critics seek to navigate the complex terrains of generic meaning, even these studies have persisted in treating sensation fiction as an excessive hyper-genre of the “not real”—a bit of flash and dazzle that emerged (or could be consciously deployed) in relation to or in realist fiction for effect. By way of extended metaphor, we might consider Anita Hill's testimony during the Senate hearings for Clarence Thomas's Supreme Court nomination in 1991. [...]treating sensation as if its fictional narratives somehow represent an unreality teaches us to dismiss this representation of murder, infidelity, and deception, along with the political dimensions of those social problems.