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Annual Report 2018/ 19
ANNUAL REPORT 2018/ 19 midsumma.org.au Midsumma Festival 2018/ 19 Annual Report Image: The Odditorium Image by Suzanne Balding CONTENTS featuring Miss Amy Cover image: by Alexis Desaulniers-Lea and artwork by Matto Lucas featuring Wade Tuck. What is Midsumma Festival? 4 Chair’s Report 7 2019 Midsumma Festival Highlights 8 2019 Economic Overview 10 2019 Program Overview and Highlights 12 - Summary of Festival Attendance 16 - Signature Events 17 - Midsumma Presents Program 22 - Open Access Program 27 - Events Outside of Festival Season 29 Focus Areas in 2019 31 2019 Access Initiatives and Activities 36 2019 Artistic Outcomes 40 Who Are Our Audiences? 42 Our Reach 44 Treasurer's Report 46 2019 Financial Report 47 Our People 56 Our Partners 58 Appendix 59 3 Midsumma Festival 2018/ 19 Annual Report Midsumma Festival also holds two annual WHAT IS signature events – Midsumma Carnival MIDSUMMA and Midsumma Pride March. Midsumma Carnival opens the Festival with a one FESTIVAL? day celebration at Alexandra Gardens in Melbourne’s CBD and Midsumma Pride Midsumma Festival March is held on the third weekend of the is Australia’s premier Festival each year flowing through Fitzroy St in St Kilda to the foreshore of Catani WHAT LGBTQIA+ arts and cultural Gardens. DO WE DO? festival held annually in Although the primary festival is held each year in summer, Midsumma works year- • We create inclusive safe cultural and Melbourne for and by round to provide queer artists, social- social spaces. communities who live changers and culture-makers with support, • We lead conversations and we listen. platforms and tools to create, present and with shared experiences promote their work, connect with their • We champion collaboration. -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
The Victorian Pride Centre
BUILDING PRIDE: AUSTRALIA’S FIRST NATIONAL PRIDE CENTRE THE VICTORIAN PRIDE CENTRE 2020-21 PRE-BUDGET SUBMISSION, OCTOBER 2019 CONTENTS OUR VISION 3 THE VICTORIAN PRIDE CENTRE BOARD 4 EXECUTIVE SUMMARY 7 OUR ASK OF THE FEDERAL GOVERNMENT 8 BUDGET STRATEGY 9 HOME AFFAIRS 10 SOCIAL SERVICES AND HEALTH 13 EMPLOYMENT, SKILLS AND FAMILY BUSINESS 16 FOREIGN AFFAIRS AND TRADE (TOURISM) 18 COMMUNICATIONS AND THE ARTS 20 CONCLUDING STATEMENT 23 APPENDICES BUDGET OVERVIEW BY ITEM 24 BUDGET OVERVIEW BY PORTFOLIO 31 2 OUR VISION THE VICTORIAN PRIDE CENTRE: This submission describes how the Pride Centre is a holistic, integrated, cross-portfolio project, and asks A VISION FOR A SAFE, EQUAL AND the Federal Government to be an equal partner in its INCLUSIVE AUSTRALIA development, fulfilling a vision of equality, diversity and respect. In 2016, members of Australia’s Lesbian, Gay, Bisexual, Trans, Gender Diverse, Intersex and Queer/ Our ask is for a one-off Federal Government Questioning (LGBTIQ) communities came together contribution of approximately of $13.5 million, to discuss their vision for a safe, equal and inclusive totalling 25.2% of all funding for the completion of future for all. From these discussions, a promise was the Pride Centre, which will ensure its success and made to create Australia’s first purpose-built LGBTIQ future sustainability. Pride Centre. A state-of-the-art, 6,000 square metre building, the Pride Centre will bring various organisations together to deliver a holistic, multi-faceted approach RENAMING TO ‘THE AUSTRALIAN to celebrating and empowering LGBTIQ communities PRIDE CENTRE’ and individuals. Through modern facilities and innovative programs, visitors will receive The Victorian Pride Centre has commenced unprecedented access to technology, essential discussions with state and local government health and social services, and shared learning and will consult community, with a view to opportunities. -
To Download a List of Locations That Have the Mr Moto Digital Screens
Mr Moto Digital Screen Event Advertising Network 273 Wellington St, Collingwood VIC 3066 +61 3 9417 7008 www.mrmoto.com.au EST.1985 Mr Moto Digital Screen Event Advertising Network 2019 Venue List Tourist Hub Venues All Nations Hotel 2 Spencer Street, Melbourne Athenaeum Theatre 188 Collins Street, Melbourne | Venue features 2 Digital Screens Base St Kilda 17 Carlisle Street, St Kilda Bird’s Basement Singers Lane, Melbourne Blondie Bar Melbourne Recital Centre - 31 Sturt Street, Southbank Bluetrain Southgate Shopping Centre - Level 2, Southgate Campari House 23 - 25 Hardware Lane, Melbourne Cosmopolitan Hotel 2 - 8 Carlisle Street, St Kilda Halftix Melbourne Town Hall, Collins & Swanston Streets, Melbourne Hairy Little Sista** 240 Little Collins Street, Melbourne | **Location currently closed Hotel Discovery 167 Franklin Street, Melbourne Ibis Styles Kingsgate Hotel 131 King Street, Melbourne Melbourne Central Shopping Centre Melbourne Central - Ground Floor, Swanston Street, Melbourne Melbourne Visitor Booth Bourke Street Mall, Melbourne | Venue features 3 Digital Screens Nomads Hotel on A’Beckett 198 A’Beckett Street, Melbourne Nomads St Kilda 24 Grey Street, Saint Kilda Quest on Bourke 155 Bourke Street, Melbourne Quest Abbotsford 612 Victoria Sreet, Abbotsford * Quest Hawthorn 616 Glenferrie Road, Hawthorn | Venue features 2 Digital Screens Quest Kew 19-21 Walpole Street, Kew Quest Williamstown 1 Syme Street, Williamstown * EST.1985 Professional Lifestyle Venues Airstream Cafe Century City Walk - 287 Springvale Road, Glen Waverley -
Autumn 2015 Words from the Editor You Are Probably Aware That, in Addition to the HQ Staff at Aylesbury, the EBU Is Run by a Number of Volunteers
The newsletter of the London Metropolitan Bridge Association Autumn 2015 Words from the Editor You are probably aware that, in addition to the HQ staff at Aylesbury, the EBU is run by a number of volunteers. There is a Board of Directors and three Standing Committees – the Tournament Committee, the Laws & Ethics Committee and the Selection Committee – almost all of whom are currently elected by the shareholders, who in turn represent each of the counties that form the union. The Board does also have some appointees filling specific roles. This arrangement is long-established but somewhat unwieldy and the Board has recently come up with proposals to reform the Standing Committees, changing them all to sub-committees of the board (there are other existing sub-committees such as the Editorial Board for English Bridge) and reducing the number of people on each. The Board would then make appointments to the various committees, encouraging suitable people to put themselves forward for this. These proposals were aired at the Shareholders’ Meeting in May. The general feeling was that the Tournament Committee, was more or less redundant, as the Aylesbury staff do all the day-to-day running of tournaments very efficiently. There is an ongoing need to review the overall strategy for tournaments, but this could readily be done by a small sub-committee or working group. With regard to the Laws and Ethics Committee, there was a further proposal to split it into two. The new L&E sub-committee would be a regulatory body only, dealing with licensed systems, alerting rules etc, and there would be a separate Disciplinary Panel to act as the judiciary, dealing with matters of discipline. -
4 6 7 8 Rams
71st Fall North American Bridge Championships • November 20-30, 1997 • St. Louis, Missouri DailyVol. 71, No. 3 Sunday, November 23, 1997 BulletinEditors: Henry Francis and Brent Manley IBPA names Matt Clegg MattPersonality Clegg, 33, who founded of Year OKbridge -- bridge on the Internet -- has been named 1997 Bridge Personality of the Year by the International 7 Bridge Press 8 Association. Clegg’s innova- tion has made it possible for players all over the world to Life Master Open Pairs champions: Kerry Smith, left, and play with far- Jeff Schuett. Victors in the Life Master Womens Pairs: Sylvia Moss, away partners left, and Janice Seamon. while sitting at their computer keyboard in Huge final set propels Moss, Seamon win their own 6 homes. WithLM a round Open to go in winners the Life Master Open OKbridge Pairs, longtime partners Jeff Schuett and Kerry TheLM first-time Womens partnership of PairsSylvia Moss of now has almost Smith stood third in the field. Two boards later, New York City and Janice Seamon of Miami cap- 10,000 sub- they found themselves in first place, about half a tured the first-place honors in the Life Master scribers from board ahead of second. They had scored nearly Women’s Pairs. more than 70 95% on the final round. nations. Some The runners-up were Sigurdur Sverrisson and An enormous last round allowed the pair to of the world’s narrowly edge out the second-place finishers, Adalsteinn Jorgensen of Reykjavik, Iceland. leading players Jorgensen was a member of the team from Ice- Linda Perlman of West Palm Beach FL and use the service to practice with distant partners. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Reading the City, Walking the Book: Mapping Sydney’s Fictional Topographies Susan M. King A thesis submitted to the Faculty of Arts and Social Sciences at the University of Sydney in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of English August 2013 Preface I hereby declare that, except where indicated in the text and footnotes, this thesis contains only my own original work. -
An Intersectional Analysis of Sexual Violence Policies, Responses, and Prevention Efforts at Ontario Universities
An intersectional analysis of sexual violence policies, responses, and prevention efforts at Ontario universities Emily M. Colpitts A dissertation submitted to the Faculty of Graduate Studies in partial fulfilment of the requirements for the degree of Doctor of Philosophy Graduate program in Gender, Feminist and Women’s Studies York University Toronto, Ontario August 2019 © Emily Colpitts, 2019 Abstract In the context of public scrutiny, heightened media attention, and the introduction of provincial legislation on campus sexual violence, Canadian post-secondary institutions are facing unprecedented pressure to respond. This dissertation critically analyzes how sexual violence is being conceptualized in post-secondary institutions’ policies, responses, and prevention efforts. Specifically, the dissertation engages with the qualitative findings emerging from discourse analysis of post-secondary institutions’ sexual violence policies and interviews with 31 stakeholders, including students, faculty, and staff involved in efforts to prevent and address sexual violence at three Ontario universities and members of community anti-violence organizations. The project is grounded in an intersectional analysis of sexual violence, which de- centres the ‘ideal’ survivor and challenges the dominant depoliticized framing of sexual violence as an interpersonal issue by revealing its structural dimensions and its intersections with systems of oppression. While a number of Ontario universities reference intersectionality in their sexual violence policies, -
Families Like Mine
LesbIan, gay, bIsexuaL, IntroductIon gender dIverse young peopLe Glossary resources and references GET SUPPORT questIonIng young peopLe Families like mine A guide for parents and families of young people who are lesbian, gay, bisexual, gender diverse or who are questioning their sexuality or gender identity Lesb Ian, gay, bIsexuaL, IntroductIon g ender dIverse young peopLe Gl ossary r esources and references GET SUPPORT questIonIng young peopLe ACknowLedgements beyondblue would like to thank all individuals who contributed to the development of this guide by providing advice and valuable feedback during the draft review’s, and/or participating in the questionnaire that helped us gain further insight and understanding into individual’s experiences. We recognise the diversity of identity among families living in Australia including families who identify as Aboriginal and Torres Strait Islander, or of migrant or refugee background. We have attempted to be as inclusive of this diversity as possible without referring to specific strengths and concerns of individual cultures or religions. The development of this guide included consultation with blueVoices members, beyondblue’s national reference group for people who have personal experience of anxiety and depression, or support someone who does. Their contributions have been invaluable, including to the Project Advisory Group, which was established to help lead the development of this guide. For more information on blueVoices, visit www.beyondblue.org.au/bluevoices beyondblue thanks our key collaborators on this guide, the National LGBTI Health Alliance and Parents, Families and Friends of Lesbians and Gays (PFLAG) Brisbane, for their invaluable support and advice through their representation in the Project Advisory Group and significant contributions to the writing of the guide. -
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Adelaide Queer Arts & Cultural Festival
Music Theatre Cabaret Drag Comedy & More de Queer A elai rts & Ad C ul tu r a l F e s t i v a l 7 – 29 nov 2020 F e F Messages Of Support | 2 a F MAJOR PARTNER e Feast Festival acknowledges that the s e event is held on the traditional lands of the Feast Hubs | 4 a & PROUDLY PRINTED BY Kaurna people and respects their spiritual ta relationship with their country. s s tFt Entrées | 6 e COVID-19 Special Events | 10 a Feast Festival and participating venues s are all managed by COVID-19 Safe and Cabaret | 18 Management Plans as applicable. Drag | 20 t TicketingFor more details & head Access to our website www.feast.org.au Information Theatre & Playreadings | 24 How to Book Workshops | 28 TicketingOnline: Tickets can & Access be purchased 24/7 Writing Live | 30 Informationvia credit card at www.feast.org.au Calendar | 34 HowTicketing to Bookenquiries please telephone: 08 8463 0684 Comedy | 38 Online: Tickets can be purchased 24/7 viaPlease credit note: card Proofat www.feast.org.au of ID, concession or Tours | 40 Ticketingeligibility enquiries for discounts please will telephone: be required 08when 8463 you 0684 enter specific events. Visual Art | 42 Please note: Proof of ID, concession or eligibilityAll tickets for will discounts incur booking will be required Music & Film | 46 whenand transaction you enter specific fees. For events. more Allinformation tickets will please incur booking check Trybooking’s Queer Conversations | 48 andterms transaction and conditions fees. For online more at informationwww.trybooking.com please check the Trybooking’s main ticket Leather & Kink | 52 termscategories and conditions are: online at www.trybooking.comFull Price: People with the no main form ticket of Community | 54 categoriesconcession are: or membership. -
The Rise and Fall of Australian Maoism
The Rise and Fall of Australian Maoism By Xiaoxiao Xie Thesis submitted for the degree of Doctor of Philosophy in Asian Studies School of Social Science Faculty of Arts University of Adelaide October 2016 Table of Contents Declaration II Abstract III Acknowledgments V Glossary XV Chapter One Introduction 01 Chapter Two Powell’s Flowing ‘Rivers of Blood’ and the Rise of the ‘Dark Nations’ 22 Chapter Three The ‘Wind from the East’ and the Birth of the ‘First’ Australian Maoists 66 Chapter Four ‘Revolution Is Not a Dinner Party’ 130 Chapter Five ‘Things Are Beginning to Change’: Struggles Against the turning Tide in Australia 178 Chapter Six ‘Continuous Revolution’ in the name of ‘Mango Mao’ and the ‘death’ of the last Australian Maoist 220 Conclusion 260 Bibliography 265 I Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968.