About

As an historian, I write about sexual politics, the law, gender, culture, and heterornormativity, particularly through the lens of obscenity and pornography. My first book, Perversion for Profit: The Politics of Pornography and the Rise of the New Right, came out from Columbia University Press a few years ago. My second, Obscenity Rules: Roth v. United States and the Long Struggle over Sexual Expression, arrived in September 2013 from the University Press of Kansas. I am mostly too lazy to blog rigorously about matters academic; cinematic depictions of Newark seem to be where things here tend, but I try to keep it updated in regard to more formal things I’ve written or occasionally cool archival documents I find.

Titling one’s blog after oneself is surely the height of pomposity, unless one’s profile in the world can bear such weight. And no Jack Balkin or Eugene Volokh am I. But what I have that those esteemed professors lack is simple: a name that ends with a B. Resistance is futile when it rolls off the tongue so smoothly. So strublog it is. Also, I didn’t have any better ideas when push came to shoving the enter key.

On my slightly cheesy Amazon profile, I claim to spend a lot of time taking pictures of my cats. It is a true claim, I assure you, but I’ll try not to get carried away with it here. They are pretty cute though, let the record show:

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Drop a line: wstrub at gmail dot com

Recent Posts

Newark’s Shortest Cameo: Da 5 Bloods (2020)

Spike Lee is America’s greatest working filmmaker, but Da 5 Bloods opens with a jumbled montage of historical footage that feels like a strangely sequenced Vietnam War Era Greatest Hits (Muhammad Ali! Neil Armstrong! Nixon! Etc.), and then it never really finds a footing but just sort of throws themes, ideas, and gunfire at you for the next two and a half hours.

Still, it mostly works; Chaotic Good is a familiar Lee register, and I’m okay with these slapdash efforts that feel both bloated and also fragmentary, the still-overlong shards of some would-be fifteen-hour epic where he actually sees it all through. He’d never forgive me for saying this, but Bloods is at its best when it’s at its most Tarantinoesque, letting some great actors do their thing and then making some of their bodies explode. There’s a cheap and rushed quality to some of it, but I loved the fuck-CGI flashbacks where aged performers just carry their age fifty years back into flashbacks (I’d take this over computerized, airbrushed, or even just made-up actors any day—lookin’ at you, Irishman), and I also loved the bad-CGI blood squibs in the action scenes, which look as chintzy as local no-budget Newark filmmakers like Bobby Guions shooting fifteen years ago in Dinner with an Assassin.

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Newark appears in Da 5 Bloods for about one second, some stock footage buried under a superimposition, but I checked the bylaws of my Newark film blog and that qualifies. (I don’t know how to get good screenshots from a Roku-connected tv, so apologies for the phone shots)

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