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The author argues that the success of the Russian pop duo, t. A.T.u., and in particular their participation in the 2003 Eurovision Song Contest, is revealing of the multiple and contradictory ways in which Russia is currently engaging with concepts of the national and the international. Specifically, the essay considers t.A.T.u.'s performance of faux-lesbian pop eroticism as a productive flashpoint of East-West misreading and failed translation that might account for the pop duo's very different reception in Russia and the West. The controversies and inconsistencies that have followed t.A.T.u are located in the larger context of ongoing debates over the redefinition of post-Soviet Russian national identity and Russia's emerging role on the global pop cultural stage. From this perspective, it is argued, the t.A.T.u. phenomenon interfaces with aspects of both post-Soviet and international youth cultures, shifts inRussian attitudes toward gender, sexuality, and identity politics, and the contradictory commodification and transnational circulation of distinctive 'European' identities that is Eurovision's stock and trade. Thus, a secondary question addressed by the author concerns the value of Eurovision itself as a subject suitable for serious scholarly engagement.Figure. t.A.T.u. in concert (reproduced with kind permission from t.A.T.u.'s management).

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This paper explores how humor reveals shared aspects of a culture of lesbian communities in the U.S. For lesbians, jokes and other forms of humor are an active, narrative means of self-construction and community imagining that help lesbians negotiate their positions both inside and outside mainstream culture. Whether consciously or unconsciously, much of lesbian humor challenges the dominant culture by rejecting its definitions of and presuppositions about lesbians, and by making lesbian experience central to its understanding of normalcy. Whereas the term "lesbian joke" usually activates a sex frame for the dominant culture, much humor created by and for lesbians is based on a switch from a sex frame to a non-sex frame. When lesbian jokes "are" about sex, they affirm the right not only to private sex, but also to public representation. Perhaps the most surprising aspect of lesbian humor is what it does not include. For the most part there are no references to heterosexuality, to harassment or to oppression, but many references to a self-empowering, self-conscious community based on cooperative principles.

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