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• Both wet and dry cabarets were ordered closed yesterday – to go into effect today – as part of the general closure order• All music and other forms of entertainment at cafes, cabarets, and similar places prohibited [note: why was this necessary if the cabarets were closed? Perhaps meant to refer to cafes and restaurants?]• All plans for political meetings in the state are now off• Drake's closure order: "'The department of public health of the state of Illinois, by virtue of the power in it vested, does hereby order and direct that all public gatherings of a social nature not essential to the war be discontinued until the further order of this department.'"• All gatherings not expressly prohibited by the order are allowed, so long as crowding is not permitted, and no coughers, spitters, or sneezers, or persons with colds, be permitted• The exact regulations pertaining to the closure order were largely guided by the emergency commission's recommendations• The following are prohibited:o Banquets and public dinnerso Conventions not approved by the Council of Defenseo Lectures, debates, and recitalso Social affairs and meetings of clubs, societies, lodges, labor unions, local improvement associations, and similar organizationso Public athletic contests (indoor and outdoor)• To prevent crowding, the following rules will be enforced as well:o All music and other entertainment at cafes, cabarets, and similar places prohibitedo Pool and bowling matches are prohibitedo Poolrooms and bowling alleys must be well ventilatedo Crowding at saloons prohibitedo Hotels must keep lobbies free of loitererso Spectators barred from courtrooms ; Newspaper article ; 13

In this paper, I analyse the conservative implications of nostalgia in the famous Dutch cabaret song 'Het Dorp' as well as the humorous deconstruction of nostalgia's conservative politics in two recent parodies of this song. Dutch cabaret is a popular form of theatre comedy which might involve joke-telling, sketches and songs, and in which social critique plays a pivotal role. In recent years, comedians have increasingly questioned the conservative political narratives expressed in past cabaret performances. Taking Wim Sonneveld's 'Het Dorp' (1965) and parodies of this song by Alex Klaasen/Jurrian van Dongen and Erik van Muiswinkel (2004) and Kyle Seconna/Elisha Zeeman (2017) as my case study, I argue that 'Het Dorp' presents a conservative worldview in which nostalgia is mobilized to mourn the loss of order and traditional values in the present, modernized world. Building on Svetlana Boym's distinction between 'restorative' and 'reflective' nostalgia and Merijn Oudenampsen's analysis of Dutch conservatism, I argue that Sonneveld's original presents a 'restorative' nostalgia that has strong conservative implications. Furthermore, I argue that both parodies of the song use change of setting, humorous incongruity and playful citation to reveal and criticize the conservative implications of nostalgia in 'Het Dorp', thereby creating a more ironic, 'reflective' nostalgia and 'repoliticizing' a song that hides and depoliticizes its conservative political claims.

The implementation of intersectional frameworks and political priorities have proven challenging for social movements. Drawing on a case study of queer cabaret and insights garnered through a combination of field observation, semi-structured interviews, and cultural artifacts, I introduce the concept of intersectional prefigurative politics as a theoretical tool for understanding how social movement actors build collectivity and engage in consciousness raising informed by a commitment to intersectional social justice. By distinguishing movement spaces from other social spaces, unsettling hegemonic power relations through a commitment to accessibility and care, and centering marginalized peoples, queer cabaret movement actors build collectives and raise consciousness informed by intersectional politics.

Contemporary Mexican cabaret is an art genre akin to theater and based in part on the popular tent theater (Teatro de Carpa) of the 1920s and 1930s. It is profoundly connected to the exercise of critical citizenship vis-à-vis Mexican neoliberalism. Many of its artists are part of a deviation from the sexual norm in that they challenge the predominant conceptions of gender and sexuality in national discourse. The fact that cabaret attracts an audience beyond purely commercial entertainment can be interpreted in terms of Slavoj Ž iž ek's proposal that the organic symbolic links created by communities are gradually being eliminated in favor a single form of relationship, the economic one. Mexican cabaret calls into question nationalistic collective models and proposes alternatives to the uniform cultural production of subjectivities and sexualities. In doing so it calls attention to the fragmentation and multiplicity of Mexican reality and especially to the need for nondogmatic and queer perceptions of it.