Quest Magazine Volume 17 Issue 19
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Gaymardigras.COM • Gayeasterparade.COM
GayMardiGras.COM • GayEasterParade.COM • GayNewOrleans.COM • May 12-25, 2009 • The Official Mag: AmbushMag.COM • 1 2 • The Official Mag: AmbushMag.COM • May 12-25, 2009 • Official Southern Decadence Guide • SouthernDecadence.COM GayMardiGras.COM • GayEasterParade.COM • GayNewOrleans.COM • May 12-25, 2009 • The Official Mag: AmbushMag.COM • 3 reading/signing his book Perfect Scar. While Bebe Zahara Benet is getting The duo will bring some tales of Voodoo adjusted to her new title as American’s the "official" dish and Spirits to Frenchmen. Next Drag Superstar, Chicago’s premier Jim’s book is a historic fictional tale of DJ, Mark Picchiotti (pronounced “Pick-ee- by Rip & Marsha Naquin-Delain Reyna Royale, escaped slave and protégé ah-tee”) is pulling records for his diva- RipandMarsha.COM of New Orleans Voodoo Priestess Marie licious gig as the official DJ of RuPaul’s E-mail: [email protected] Laveau. She flees to San Francisco with Drag Race Winner’s Tour (also known as a meteoric rise to wealth and power and The Absolut “Real Fruit” Tour). forms a relationship with a white Mining RuPaul’s Drag Race Winner’s Tour/ Stock Market broker, a closeted homo- Absolut “Real Fruit” Tour DJ Mark Picchiotti Saints and Sinners Gather the author will pitch his/her idea, reading sexual. They share his secret which they and America’s Next Drag Superstar, Bebe for Literary Revelry in NOLA a blurb and the first page of the story. The use in self defense. Zahara Benet at Roscoe’s (Chicago), The acquiring publisher and/or editor will then On Saturday, May 16 from 7 till 8pm at Patio (San Francisco, w/Tammie Brown) We’re looking forward to seeing provide immediate impressions and any you!" says TJ Rogers of the NO/ FAB, come experience MOJO WORD and together. -
Star Channels, April 19-25, 2020
APRIL 19 - 25, 2020 staradvertiser.com LOWKEY AMAZING HBO’s acclaimed dramedy Insecure kicked off its fourth season last week, and fans are eager to see more from its powerful leading ladies, Issa (Issa Rae) and Molly (Yvonne Orji), who have been through a veritable plague of drama over the past three years. Airing Sunday, April 19, on HBO. ¶Olelo has gone mobile. Watch everything from local events to live coverage of the State Legislature, anytime, anywhere. Download the Ҋũe^ehFh[be^:iibgma^:iiLmhk^hk@hh`e^IeZr' olelo.org 590198_MobileApp_2.indd 1 3/5/20 1:15 PM ON THE COVER | INSECURE No man, no job, no problem ‘Insecure’ comes through to believe the current installment of the garner further attention and receive Golden “Insecure” saga will be anything but lowkey. Globe or Emmy nominations? Let’s slow in uncertain times The 10-episode season focuses on re- down and look at the tangibles before get- turning main characters, Issa (Issa Rae, ting too carried away with the questions. By Dana Simpson “The Misadventures of Awkward Black For starters, Issa is without a job and with- TV Media Girl”) and her best friend, Molly (Yvonne out a man — a situation that may be haunt- Orji, “Nightschool,” 2018), who have been ingly relatable for any single person tem- earing up for another year of turmoil through, well, let’s face it, a veritable plague porarily out of work during these strange and wit after a year-and-a-half-long of drama over the past three years. From times of social isolation. -
THE TUFTS DAILY Tufts Dining Workers and Students Are Pictured Marching in the ‘Picket for a Fair Dining Contract’ on March 5
WOMEN’S LACROSSE Work-study students discuss pressures, commitments see FEATURES / PAGE 4 Jumbos put on offensive clinic in win over Continentals A call for trustee transparency SEE SPORTS/BACK PAGE see OPINION/ PAGE 10 THE INDEPENDENT STUDENT NEWSPAPER OF TUFTS UNIVERSITY EST. 1980 HE UFTS AILY VOLUME LXXVII, ISSUE 30T T D MEDFORD/SOMERVILLE, MASS. WEDNESDAY, MARCH 6, 2019 tuftsdaily.com More than 800 people attend picket for dining workers, strike vote set for March 14 KYLE LUI / THE TUFTS DAILY Tufts Dining workers and students are pictured marching in the ‘Picket for a Fair Dining Contract’ on March 5. by Alexander Thompson “Tufts University can afford for one job He said the university hopes to resolve the situ- Trisha O’Brien, a dining services atten- Assistant News Editor to be enough for all workers. It was never ation as soon as possible. dant at Kindlevan Café who held the banner a question of affordability, it’s a question of The dining workers first began their negoti- at the head of the procession as it moved to In a dramatic development in their sev- respect for human dignity,” Lang told the ations with Tufts in August 2018. Dewick-MacPhie Dining Center, said that she en-month campaign for a contract with crowd through a megaphone. “This admin- In an email to the Daily after the latest would vote for the the strike because she the university, Tufts Dining workers will istration is getting increasingly isolated on round of negotiations on Feb. 27, Mike Kramer, thinks negotiations are not going well, and a vote on whether to go on strike on March this campus and in the communities around the lead negotiator for UNITE HERE Local 26, strike is necessary in order for the workers to 14, according to UNITE HERE Local 26 this campus.” wrote that the sticking points were key eco- secure a fair contract. -
Run Date: 08/30/21 12Th District Court Page
RUN DATE: 09/27/21 12TH DISTRICT COURT PAGE: 1 312 S. JACKSON STREET JACKSON MI 49201 OUTSTANDING WARRANTS DATE STATUS -WRNT WARRANT DT NAME CUR CHARGE C/M/F DOB 5/15/2018 ABBAS MIAN/ZAHEE OVER CMV V C 1/01/1961 9/03/2021 ABBEY STEVEN/JOH TEL/HARASS M 7/09/1990 9/11/2020 ABBOTT JESSICA/MA CS USE NAR M 3/03/1983 11/06/2020 ABDULLAH ASANI/HASA DIST. PEAC M 11/04/1998 12/04/2020 ABDULLAH ASANI/HASA HOME INV 2 F 11/04/1998 11/06/2020 ABDULLAH ASANI/HASA DRUG PARAP M 11/04/1998 11/06/2020 ABDULLAH ASANI/HASA TRESPASSIN M 11/04/1998 10/20/2017 ABERNATHY DAMIAN/DEN CITYDOMEST M 1/23/1990 8/23/2021 ABREGO JAIME/SANT SPD 1-5 OV C 8/23/1993 8/23/2021 ABREGO JAIME/SANT IMPR PLATE M 8/23/1993 2/16/2021 ABSTON CHERICE/KI SUSPEND OP M 9/06/1968 2/16/2021 ABSTON CHERICE/KI NO PROOF I C 9/06/1968 2/16/2021 ABSTON CHERICE/KI SUSPEND OP M 9/06/1968 2/16/2021 ABSTON CHERICE/KI NO PROOF I C 9/06/1968 2/16/2021 ABSTON CHERICE/KI SUSPEND OP M 9/06/1968 8/04/2021 ABSTON CHERICE/KI OPERATING M 9/06/1968 2/16/2021 ABSTON CHERICE/KI REGISTRATI C 9/06/1968 8/09/2021 ABSTON TYLER/RENA DRUGPARAPH M 7/16/1988 8/09/2021 ABSTON TYLER/RENA OPERATING M 7/16/1988 8/09/2021 ABSTON TYLER/RENA OPERATING M 7/16/1988 8/09/2021 ABSTON TYLER/RENA USE MARIJ M 7/16/1988 8/09/2021 ABSTON TYLER/RENA OWPD M 7/16/1988 8/09/2021 ABSTON TYLER/RENA SUSPEND OP M 7/16/1988 8/09/2021 ABSTON TYLER/RENA IMPR PLATE M 7/16/1988 8/09/2021 ABSTON TYLER/RENA SEAT BELT C 7/16/1988 8/09/2021 ABSTON TYLER/RENA SUSPEND OP M 7/16/1988 8/09/2021 ABSTON TYLER/RENA SUSPEND OP M 7/16/1988 8/09/2021 ABSTON -
DRAGS THURSDAY, MAY 16, 2019 the ALI FORNEY CENTER (AFC) Is the Nation’S Largest Provider of Housing, Safety and Essential Services to Homeless LGBTQ Youth
AN ANNUAL BENEFIT FOR THE ALI FORNEY CENTER An unforgettable night of performances by New York City’s top drag talent THIRD ANNUAL DRAGS THURSDAY, MAY 16, 2019 THE ALI FORNEY CENTER (AFC) is the nation’s largest provider of housing, safety and essential services to homeless LGBTQ youth. There are an estimated 3,800 homeless youths on the streets of NYC, with 40% self-identifying as LGBTQ. As we enter our 16th year of service, we continue to expand our mission to protect LGBTQ youth from the harms of homelessness. DRAGS launched in 2017, born from a book of portraits by photographer Gregory Kramer. All proceeds from the book, including drag legends Sasha Velour, Lady Bunny, Peppermint, Murray Hill, and Charles Busch, benefit the Ali Forney Center. The first two DRAGS events have collectively drawn over 1,000 supporters, and raised $80,000.00 nearly $80,000, providing over 40,000 meals for AFC’s RAISED homeless young people. Back for a third year, DRAGS 2019 will feature new (and slightly used) talent from New York City’s remarkable drag 40,000 MEALS scene, all of whom donate their time and efforts to this PROVIDED incredible night of fundraising and theatrics. Date: Thursday, May 16, 2019 Anticipated attendance: 500+ Previous performers include: Sasha Velour • Monét X Change Scarlett Envy • Murray Hill • Gould Cummings • Linda Simpson • Ragamuffin • Sherry Vine • Mrs. Smith • Shequida Daphne Always • Emi Grate • Vigor Mortis • Wang Newton Miz Jade • Ruby Roo • Princess Bytch • Flotilla DeBarge Destiny • Horrorchata • Crimson Kitty • Mr. Lee VaLone Duelling Bankheads • Merry Cherry • Lal Batti Ginger • Sugga Pie Koko • Goldie Peacock Kim Ono • Fllyod • Sultana • Pixie Aventura Zeta Jones • Glace Chase Thee Suburbia • Pearl Harbor Audience Reach DRAGS performers commit to ongoing social media support when they sign on to the event, guaranteeing you impressions with a large, diverse, and influential audience. -
The History and Representation of Drag in Popular Culture; How We Got to Rupaul
MASARYK UNIVERSITY FACULTY OF ARTS The History and Representation of Drag in Popular Culture; How We Got to RuPaul Bachelor's thesis MICHAELA SEVEROVÄ Supervisor: Jeffrey Alan Vanderziel, B.A. Department of English and American Studies English Language and Literature Brno 2021 MUNI ARTS THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Bibliographic record Author: Michaela Severovä Faculty of Arts Masaryk University Title of Thesis: The History and Representation of Drag in Popular Culture; How We Got to RuPaul Degree Program: English Language and Literature Supervisor: Jeffrey Alan Vanderziel, B.A. Year: 2021 Number of Pages: 72 Keywords: drag queens, RuPauVs Drag Race, drag, LGBTQ+, representation, queer culture, sexuality 2 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Abstract This bachelor thesis deals with drag and its representation in popular culture, focus• ing on RuPaul's Drag Race. It analyses the representation of drag by explaining some basic terms and the study of the history of drag. It then analyses the evolution of the representation of drag queens in movies and shows. The main focus of this thesis is the American TV show RuPaul's Drag Race and how it changed the portrayal of drag and the LGBTQ+ community in popular culture. The thesis questions if the show is as progressive and diverse as it proclaims to be and if it shows the authentic image of drag culture. 3 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Declaration I hereby declare that this thesis with title The History and Representation of Drag in Popular Culture; How We Got to RuPaul I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my thesis. -
“It's Not Personal, It's Drag”: the Sassy Politics of Rupaul's Drag Race
Felipe González Silva 2078621G MLitt Film and Television Studies Dissertation – September 2015 “It’s Not Personal, It’s Drag”: The Sassy Politics of RuPaul’s Drag Race Supervised by Professor Karen Lury University of Glasgow Word count: 14,840 Beneficiario COLFUTURO 2014 Abstract After the success of reality competition shows such as Project Runway and America’s Next Top Model in the United States, RuPaul’s Drag Race reached the small screen to be the first TV programme of its kind to feature drag queens. Through textual analysis and theories of queer and feminist studies, this thesis joins the fundamental debates about drag and its role in society. With these debates as a starting point, this thesis is dedicated to determining the position of Drag Race within the tension between gay politics and queer politics that lies in the programme’s construction of what drag is supposed to be. By focusing on the relation of masculinity and femininity in drag, and on the role of sleaziness in drag, this thesis argues that RuPaul’s Drag Race refuses to be located unequivocally as a project of either gay or queer politics. This reading does not only propose an innovative take on the programme but it also manages to further problematise the distinction between the two “kinds” of politics. Key words: RuPaul’s Drag Race, drag, gay politics, queer politics, femininity, masculinity, sleaziness, gender, race ii Acknowledgements I would like to show gratitude to my supervisor, Professor Karen Lury. Her impressive knowledge and sensibility about television and academia in general, along with her commitment to my project, helped me develop this dissertation successfully. -
Calling All the Queens! Visibilidades De Gênero No Programa De TV Rupaul’S Drag Race1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XVII Congresso de Ciências da Comunicação na Região Nordeste – Natal/RN – 02 a 05/07/2015 Calling All The Queens! Visibilidades de gênero no programa de TV RuPaul’s Drag Race1 Joseylson Fagner dos SANTOS2 Universidade do Estado do Rio Grande do Norte (UERN), Mossoró, RN Resumo: O presente artigo se propõe a discutir a visibilidade de indivíduos e identidades drag queen a partir da veiculação de RuPaul’s Drag Race, programa de televisão transmitido em canal por assinatura no território norte-americano. O texto faz parte de um estudo preliminar a respeito das aproximações culturais entre a cena estadunidense e a brasileira, pela qual circulam referências sobre personagens e experiências drag queen. Para tanto, faz uma análise qualitativa de duas temporadas (2013 e 2014) do programa e suas principais articulações sobre as questões de gênero e identidade sexual que fundamentam a posterior análise e discussão de outros experimentos no Brasil. A reflexão iniciada aqui é pautada pela reflexão sobre como as referências apresentadas no programa permitem articular elementos como a visibilidade social dessas personagens na cena LGBT, e a articulação de questões de gênero e das sexualidades na difusão em meios de comunicação de massa. Palavras-chave: drag queen; papéis de gênero; comunicação de massa; televisão; RuPaul’s Drag Race. INTRODUÇÃO Who do you think you are? I'm telling the truth now We're all born naked And the rest is drag — RuPaul Presença irreverente e icônica na cena LGBT norte-americana desde a metade dos anos 1980, a figura andrógina de RuPaul Andre Charles – que posteriormente ficou conhecida apenas por RuPaul – tornou-se um fenômeno de mídia após surgir como drag queen3 nos meios de comunicação de massa dos Estados Unidos como ator, cantor e diretor numa variedade de filmes, programas de rádio e de TV, propagandas, eventos sociais e casas noturnas, além dos videoclipes musicais para promover álbuns gravados como cantora. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Reading RuPaul's Drag Race: Queer Memory, Camp Capitalism, and RuPaul's Drag Empire Permalink https://escholarship.org/uc/item/0245q9h9 Author Schottmiller, Carl Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Carl Douglas Schottmiller 2017 © Copyright by Carl Douglas Schottmiller 2017 ABSTRACT OF THE DISSERTATION Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire by Carl Douglas Schottmiller Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor David H Gere, Chair This dissertation undertakes an interdisciplinary study of the competitive reality television show RuPaul’s Drag Race, drawing upon approaches and perspectives from LGBT Studies, Media Studies, Gender Studies, Cultural Studies, and Performance Studies. Hosted by veteran drag performer RuPaul, Drag Race features drag queen entertainers vying for the title of “America’s Next Drag Superstar.” Since premiering in 2009, the show has become a queer cultural phenomenon that successfully commodifies and markets Camp and drag performance to television audiences at heretofore unprecedented levels. Over its nine seasons, the show has provided more than 100 drag queen artists with a platform to showcase their talents, and the Drag Race franchise has expanded to include multiple television series and interactive live events. The RuPaul’s Drag Race phenomenon provides researchers with invaluable opportunities not only to consider the function of drag in the 21st Century, but also to explore the cultural and economic ramifications of this reality television franchise. -
“Drag Queens Talk Like Women, You Know”
“Drag Queens Talk Like Women, You Know” - A study in the Use of the Hedge “You Know” in Feminine-Gendered Speech Danny Bennet t 2016 C-essay 15 hp Engelska 61-90 Handledare: Pia Visén Examinator: Marko Modiano Abstract The aim of this study was to analyze and compare the use of the verbal hedge “you know” in the spontaneous speech of women and drag queens to compare for instances of certainty and uncertainty as described by Holmes (1986). For the data, episodes of the reality shows RuPaul’s Drag Race Untucked which airs on Logo TV and The Real Housewives of Orange County which airs on Bravo TV were manually transcribed by the conventions of written speech. The use of “you know” was then analyzed by function and context. In the results of this study, the women used “you know” to express uncertainty more often than the drag queens, except not in the way Lakoff (2004) described as being an aspect of “women’s language.” The drag queens used “you know” more often to express certainty. However, when used to express uncertainty its use by the drag queens was more relevant to “women’s language” as described by Lakoff (2004) or an exaggerated performance of femininity. Key words: Drag queens, women’s language, language and gender, hedges 2 Table of contents Abstract…………………………………………………………………..2 1. Introduction…………………………………………………………....4 2. Literature Review……………………………………………………...4 2.1 Women’s Language and hedges……………………………………...4 2.2 Form and Function of “you know” …………………………………..6 2.2.1 “You know” expressing certainty…………………………………..7 2.2.2 “You know” expressing uncertainty………………………………..8 2.3 Face Work…………………………………………………………....10 2.4 Gender Performance…………………………………………………11 2.5 Brief History of Cross-Dressing…………………………………….12 2.6 Defining Drag……………………………………………………….13 2.7 RuPaul’s Drag Race…………………………………………………13 3. -
“I'm a Mountain Biking Vampire Witch from the Future!” Queer Decolonial
“I’m a Mountain Biking Vampire Witch From the Future!” Queer Decolonial Killjoys in Queer Studies and Politics by Charlotte Theresa Hoelke A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctorate in Philosophy in Canadian Studies Carleton University Ottawa, Ontario © 2018, Charlotte Theresa Hoelke Hoelke, 1 Abstract This thesis asks how queer scholarship and politics will maintain a radically queer critical edge, specifically an unsettling, decolonial approach that does not take for granted the continuance of queer liberal and settler colonial structures. A longstanding debate in queer studies and politics is the tension between queer assimilation vs queer radicalism. However, even the radical unsettling approaches that discuss radical queer futurity (Muñoz, and Edelman) often do not centre the important context of settler colonialism, even while critiquing normativity and imagining better futures. So how do we locate examples of imaginings of queer decolonial futures: ones that account for settler colonialism? To find out, I chose to examine selected performances in specific popular “silly archives of unhappy feelings,” and found complex examples of uncanny, at times monstrous, performances by artists (Trixie Mattel, Katya Zamoldchikova and Miss Chief Eagle Testickle). These artists, I argue, exemplify and embody the characteristics of what I call “Queer Decolonial Killjoys” (QDKs). Building on Ahmed’s concepts of “Feminist Killjoys,” and “Unhappy Queers,” I demonstrate that the artists I discuss not only unsettle gendered, sexualized, and racialized norms (à la Ahmed), but that they also act as Decolonial Killjoys because they use complex performative strategies to also critique settler colonialism and queer liberalism. -
“You Better Work:” the Commodification of HIV in Rupaul's
Hunter Hargraves “You Better Work:” The Commodification of HIV in RuPaul’s Drag Race In a 2010 episode of Comedy Central’s South Park (1994), set in San Francisco, these excesses quite in which the residents of South Park combat an literally manifest themselves in the controversy and army of New Jersey emigrants, a town hall meeting media coverage of the season’s principle character, prominently displays a map of the United States Pedro Zamora, who succumbed to HIV-related in which a majority of the nation east of Colorado progressive multifocal leukoencephalitis the day has become subsumed into New Jersey’s borders.1 after the season’s final episode aired. Zamora, Through its intertextual references to programs arguably the first reality TV celebrity, unabashedly such as MTV’s Jersey Shore and Bravo’s The Real used the medium as a platform for educating the Housewives of New Jersey, the South Park episode, in public about the experience of living with HIV. its typical parodic fashion, exaggerates stereotypical Bounded by these themes of excess, celebrity, and Italian-American culture – from gelled hair and stereotype, the unusual confluence between reality grotesquely tanned skin to constant swearing and television and discourses surrounding the HIV/ a short temperament – while constructing it as a AIDS epidemic continued into the competitive threat to the nation’s cultural purity. One cannot gamedoc sub-genre of reality programming in the escape, however, the episode’s underlying message: early 2000s. HIV-positive contestants have since the real contaminant is not New Jersey, but rather appeared on American and European television the excess of reality TV.