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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. -
UNIVERSITY of CALIFORNIA Los Angeles Reading Rupaul's Drag Race
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. ii While most scholars analyze RuPaul’s Drag Race primarily through content analysis of the aired television episodes, this dissertation combines content analysis with ethnography in order to connect the television show to tangible practices among fans and effects within drag communities. -
Realness Over Reality: Analyzing Gender Binary Deconstruction in Rupaul's Drag Race
Bowling Green State University ScholarWorks@BGSU Ray Browne Conference on Cultural and Critical Studies 2018: Borders and Borderlands Apr 7th, 3:00 PM - 3:50 PM Realness Over Reality: Analyzing Gender Binary Deconstruction in RuPaul’s Drag Race Jonah Wilson Bowling Green State University, [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/rbc Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Other Film and Media Studies Commons Wilson, Jonah, "Realness Over Reality: Analyzing Gender Binary Deconstruction in RuPaul’s Drag Race" (2018). Ray Browne Conference on Cultural and Critical Studies. 6. https://scholarworks.bgsu.edu/rbc/2018conference/011/6 This Event is brought to you for free and open access by the Conferences and Events at ScholarWorks@BGSU. It has been accepted for inclusion in Ray Browne Conference on Cultural and Critical Studies by an authorized administrator of ScholarWorks@BGSU. Wilson 1 Jo Wilson Ray Browne Popular Culture Conference, Spring 2018 Realness over Reality: Analyzing Gender Binary Deconstruction in RuPaul’s Drag Race Following the 2008 elections: twenty-nine out of fifty U.S. states legalized same-sex marriage (Liu), Stu Rasmussen, the first openly transgender mayor was elected in the country (Wong), and then-President Barack Obama appointed the first openly transgender woman to a cabinet position (Riley). After talking to producers beginning in 1998, RuPaul Charles premiered his namesake reality show, RuPaul’s Drag Race (RPDR) in 2009 (Daems 14). The show, with the potential to break down barriers of gender expression and sexuality, has had a fair share of controversies—particularly surrounding transphobia and misogyny. -
May 4, 2012 | Volume IX Issue 26 Violence Against Women Act Passes in the Senate EEOC: Trans
OUT May 4, 2012 | Volume IX Issue 26 Violence Against Women Act passes in the Senate EEOC: Trans BY DaNA LAROCCA Vice President Joe Biden, who sponsored try,” Adams said as she introduced the bill. Workers Protected On April 29 the Senate, in a 68-31vote, re- the original bill in 1994, said in a statement, Adams, a long time advocate for victims authorized the Violence Against Women Act. “In 2012, we should be beyond ques- of domestic violence, did not mention in her by Title VII The act, first passed in 1994, initially provided tioning the need for the Violence statement that the House version stripped $1.6 billion for investigation and prosecution Against Women Act. This law has away the LGBT protections that were BY MIKE ANDREW of violent crimes against women. Additionally been overwhelmingly successful included in the Senate version. Adams Seattle Gay News staff writer the act imposed automatic and mandatory res- since it was first enacted 17 years said, of the House version which has The federal Equal Employ- titution on those convicted, and allowed civil ago to improve the criminal jus- no Democratic co-sponsors, “We need ment Opportunity Commission redress in cases prosecutors chose to leave tice response to this violent crime to make sure that we don’t allow this (EEOC) ruled on April 24 that unprosecuted. The Act also established the and to assist those who experience bill to become a political issue. Title VII, the federal sex discrimi- Office on Violence Against Women within the this abuse. Since then, the law has This is a bipartisan bill, and nation law, protects employees Department of Justice. -
We Are Family! I've Got My Drag Sisters with Me
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lake Forest College Publications Lake Forest College Lake Forest College Publications Senior Theses Student Publications 4-1-2014 We Are Family! I’ve Got My Drag Sisters With Me: An Examination of the Relationship Between Visual Media and Drag Family Structure Christopher D. Way Lake Forest College, [email protected] Follow this and additional works at: http://publications.lakeforest.edu/seniortheses Part of the American Popular Culture Commons, Rhetoric Commons, and the Television Commons Recommended Citation Way, Christopher D., "We Are Family! I’ve Got My Drag Sisters With Me: An Examination of the Relationship Between Visual Media and Drag Family Structure" (2014). Senior Theses. This Thesis is brought to you for free and open access by the Student Publications at Lake Forest College Publications. It has been accepted for inclusion in Senior Theses by an authorized administrator of Lake Forest College Publications. For more information, please contact [email protected]. We Are Family! I’ve Got My Drag Sisters With Me: An Examination of the Relationship Between Visual Media and Drag Family Structure Abstract Drag is a performance identity that is based in gay culture. Drag has recently become popularized through various visual media. This study uses visual media and political queer theory to analyze drag’s association with the building block of society: the family unit. Through use of contemporary content analysis and survey data, this thesis examines how the rise of drag in visual media, specifically the television show RuPaul’s Drag Race, has transformed the political structure of drag families. -
Signing Times
bluebay700.com DragCon 2016 Lookup Signing Times Table Saturday Sunday Booth Locations AB Soto 1034 4pm-6pm 1pm-3pm Acid Betty 843 Mimi Imfurst 741 Amber Rose 1019 3pm-5pm Adore Delano 1039 Miss Fame 1039 Ashley Nell Tipton 1002 2pm-4pm 2pm-4pm Alaska 5000 1039 Monica Beverly Hillz DAE 17 Big Dipper 1007 3pm-5pm 10am-12pm Alexis Mateo DAE 1 Morgan McMichaels DAD 4 Big Freedia 1001 2pm-4pm 1pm-3pm Alisa Summers DAE 9 Mrs. Kasha Davis 641 Boulet Brothers 1023 All Day bet. Lounge hosting Alyssa Edwards 642 Mystique Summers Madison DAD 6 Brendan Jordan 1035 1p-3p April Carrion DAB 16 Naomi Smalls 940 Brittney Guzman 1004 1pm-3pm 11am-1pm Bob the Drag Queen 943 Naysha Lopez DAC 81 Bryce Eilenberg 1010 12pm-2pm 12pm-2pm Chad Michaels DAE 11 Nicole Paige Brooks 941 Calpernia Addams 1011 1pm-3pm 10am-12pm Chi Chi Devayne DAC 71 Ongina x Adriana Clitaria DAB 42 Christy McGinity 1014 1pm-3pm Coco Montrese DAE 19 Pandora Boxx 540 Coco Peru 1007 12pm-2pm Courtney Act 1039 Pearl 1039 Damiana Garcia 1009 10pm-12pm 11am-1pm Cynthia Lee Fontaine DAC 73 Phi Phi O’Hara 415 David Yost 1037 ALL DAY ALL DAY Darienne Lake 1039 Phoenix DAE 7 Dianna Williams (Coach D) 1022 2pm-4pm Dax Exclamation Point DAC 75 Raja 541 Drew Droege 1006 11am-1pm Delta Work DAA 3 Raven DAD 8 Eden The Doll 1012 10am-12pm 10am-12pm Derrick Barry DAC 77 Robbie Turner 1042 Elana Genevinne 1015 10am-12pm 10am-12pm Detox 442 Shangela 443 Frank Decaro 1036 2pm-4pm 2pm-4pm Gia Gunn 542 Stacy Layne Matthews DAA 69 Heklina 1014 12pm-3pm Ginger Minj 1039 Tammie Brown DAA 27 Jason Carter 1000 12pm-2pm 12pm-2pm Honey Mahogany DAE 21 Tatianna DAD 10 Jim Colucci 1002 11am-1pm India Ferrah DAE 5 Tempest Dujour DAC 67 Johnny McGovern 1032 12pm-2pm 12pm-2pm Ivy Winters DAB 46 Thorgy Thor 942 Judy Tenuta 1033 11am-1pm 11am-1:30pm Jade Jolie DAE 23 Trinity K. -
SAN DIEGO PRIDE 2019 Media Kit | Sdpride.Org Event Information the Following Events Are Official San Diego Pride Events
SAN DIEGO PRIDE 2019 Media Kit | sdpride.org Event Information The following events are official San Diego Pride events. San Diego Pride ● 7/6 - She Fest ● 7/10 - Light Up The Cathedral ● 7/12 - Rally and Block Party ● 7/13 - 5K & Parade | 7/13-7/14 - Festival For a full list of events, please visit sdpride.org/events Date: Friday, July 12, 2019 Time: All Day Location: Hillcrest Pride Flag, University Ave. & Normal St., San Diego, CA 92103 Cost: Free Speakers: Dwayne Crenshaw,, Carolina Ramos, Cara Dessert, Bix Marino-Kibbee Awardees: Stonewall Generation, LaRue Fields, Abrahan Monzon, Reverand Penny Bridges, Ricardo Gallego & Dr.Orlando Espin, Blue Shield, San Diego History Center The origins of the global Pride movement can trace their roots to the Stonewall riots of 1969, an uprising against police brutality that has spread around the world. Over 1,000 Pride events have been identified across the globe, each one taking on a local flair. In San Diego, we launch Pride weekend by honoring those beginnings with the Spirit of Stonewall Rally where we celebrate the accomplishments of those at the forefront of our movement and recommit to the work that lies ahead. Webpage: sdpride.org/rally Facebook Event Page: www.bit.ly/ssr19 SAN DIEGO PRIDE 2019 Media Kit | sdpride.org The annual San Diego Pride is the 4th largest in the United States, attracts over 250,000 cheering spectators, elected officials, community groups, military service members and first responders, as well as significant media participation. The Pride Parade is the best attended and largest single day event in San Diego. -
University of Florida Thesis Or Dissertation Formatting
WHERE’S MY THANKS: CITIZENSHIP AND THE REGULATION OF QUEER LATINOS IN CONTEMPORARY POPULAR CULTURE By R. GABRIEL MAYORA A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2016 © 2016 R. Gabriel Mayora To mami, papi, Yesu y Reyving por ser mis ángeles en la tierra y por los sacrificios que hicieron para que yo llegara a este punto. Su sabiduría y amor son la mejor herencia. ACKNOWLEDGMENTS Though I wrote this dissertation myself, it feels like it belongs to the countless of people who helped me every step of the way. I dedicate this dissertation to Ramón and Maritza Mayora, mami y papi, who gave up everything so that I could have a place in the world. My siblings Yesu y Reyving worked all kinds of jobs to support our family when we immigrated to the U.S., and without them, I simply would not have had the chance to be doing what I chose to do. Yira’s unconditional support helped make this journey a lot more bearable. Without the input and enthusiasm of Efraín Barradas, Amy Ongiri, and Kim Emery, I would be completely lost. I thank them for asking the tough questions; my work is stronger because of them. Creed Greer, Martin Simpson, Terry Harpold, and Kenneth Kidd kept me employed so that I could actually afford to work on this project. Without Leah Rosenberg, Sid Dobrin, Emilia Hodge, Sarah McLemore, who helped me receive the Delores Auzenne Dissertation Award, I would not have been able to finish it. -
0 Drag in Oklahoma: the Power of Performance By
DRAG IN OKLAHOMA: THE POWER OF PERFORMANCE BY: STEPHANIE VICTORIA ALLEN A thesis submitted to the graduate faculty in partial fulfillment requirements for the degree of MASTERS OF HISTORY University of Central Oklahoma 2017 0 Acknowledgments I would like to thank the professors and students that I have worked with at the University of Central Oklahoma (UCO). They have supported me with advice and resources to further my thesis. First, I would like to thank my thesis chairman and professor Dr. Lindsey Churchill for believing in me when I did not believe in myself. Without her enthusiasm, dedication, and mentorship this work would not have been possible. Dr. Katrina Lacher also on my committee, for introducing me to public entertainment history and supporting my decision to write a thesis on it. Heidi Vaughn, the third member of my committee, for always being there for me when I needed it. I have never met a more helpful person. To my friends and family thank you for the support and toleration. To David Whitmire for your constant love and motivation. A special thanks to Verta Taylor and Leila Rupp. Their publications gave me the base from which to start this research and many of my interview questions came from their work. To the community of UCO scholars, I will forever be grateful for the support and comradery. I would specifically like to thank Patrick and Helen Salkeld for pushing me and taking a real interest in this research. To each of the drag artists who graciously allowed me to interview them I am deeply grateful, this work would be nothing without you. -
The Homonormative Brand Culture of <I>Rupaul's Drag Race</I>
Old Dominion University ODU Digital Commons Institute for the Humanities Theses Institute for the Humanities Fall 12-2020 Drag Incorporated: The Homonormative Brand Culture of RuPaul's Drag Race Nathan T. Workman Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/humanities_etds Part of the Gender and Sexuality Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Mass Communication Commons Recommended Citation Workman, Nathan T.. "Drag Incorporated: The Homonormative Brand Culture of RuPaul's Drag Race" (2020). Master of Arts (MA), Thesis, Humanities, Old Dominion University, DOI: 10.25777/g77v-1m87 https://digitalcommons.odu.edu/humanities_etds/37 This Thesis is brought to you for free and open access by the Institute for the Humanities at ODU Digital Commons. It has been accepted for inclusion in Institute for the Humanities Theses by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. DRAG INCORPORATED: THE HOMONORMATIVE BRAND CULTURE OF RUPAUL’S DRAG RACE by Nathan T. Workman B.A. December 2017, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS HUMANITIES OLD DOMINION UNIVERSITY December 2020 Approved by: Avi Santo (Director) Amy K. Milligan (Member) Marc A. Ouellette (Member) Myles McNutt (Member) ABSTRACT DRAG INCORPORATED: THE HOMONORMATIVE BRAND CULTURE OF RUPAUL’S DRAG RACE Nathan T. Workman Old Dominion University, 2020 Director: Dr. Avi Santo This thesis argues RuPaul’s Drag Race (RPDR, 2009–) positions itself as a homonormative pathway to LGBTQ+ social inclusion through privileging neoliberal self- branding and commodity activist practices that reify privileged raced, classed, and sexuality identity markers. -
Pontificia Universidad Católica Del Perú
PONTIFICIA UNIVERSIDAD CATÓLICA DEL PERÚ FACULTAD DE CIENCIAS Y ARTES DE LA COMUNICACIÓN Reality show y discurso de género: una mirada a la teoría de la performatividad de género en el reality show Rupaul’s Drag Race TESIS PARA OPTAR EL TÍTULO PROFESIONAL DE LICENCIADA EN COMUNICACIÓN AUDIOVISUAL AUTORA JIMENA ALEJANDRA MENDEZU ROSAS ASESOR GUILLERMO VASQUEZ FERMI Lima, Junio, 2020 Resumen Esta investigación tiene como objeto de estudio al reality show Rupaul’s Drag Race, el cual es analizado a partir de la teoría de la performatividad de género de la filósofa estadounidense Judith Butler, donde la autora toma como ejemplo a la performance drag para mostrar que el género es se performa, es decir, que se construye y da la ilusión de ser una esencia a través de los actos performativos. Para Butler, las drag queens imitan y actúan el género para hacer su performance, por lo que evidencian esta performatividad. Mediante el análisis del discurso, analizaremos bajo una mirada cualitativa-deductiva siete capítulos del reality show para reconocer si se cumple o no la performatividad del género en ellos; además de identificar en qué segmento de la estructura narrativa del programa se muestran más y quiénes son los personajes dentro del reality que más se acercan a este concepto. Finalmente, como conclusión principal hallamos que la teoría de la performatividad se cumple, en su mayoría, en el reality show Rupaul’s Drag Race y que son las drag queens que se acercan más a este concepto a través de lo expresado verbalmente por ellas en la ejecución de los desafíos principales del programa y la presentación de sus personajes en la pasarela. -
Feminist “Realness”
HEGEMONIC “REALNESS”? AN INTERSECTIONAL FEMINIST ANALYSIS OF RUPAUL’S DRAG RACE by Sarah Tucker Jenkins A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2013 ACKNOWLEDGEMENTS The author wishes to express her sincere thanks to her thesis advisor, Dr. Christine Scodari, and her thesis committee members, Dr. Barclay Barrios and Dr. Wairimu Njambi for their feedback and support. She would also like to thank the teachers who have mentored her throughout her academic career including (but not limited to) Dr. Josephine Beoku-Betts, Dr. Jane Caputi, Dr. Michele Tracy Berger and Ann Propst Pallex. Lastly, a big thank you to her entire family and all her friends, for their unending support and encouragement. iii ABSTRACT Author: Sarah Tucker Jenkins Title: Hegemonic “Realness”? An Intersectional Feminist Analysis of RuPaul’s Drag Race Institution: Florida Atlantic University Thesis Advisor: Dr. Christine Scodari Degree: Master of Arts Year: 2013 RuPaul’s Drag Race is one of the few reality television shows focusing on QLGBT (queer, lesbian, gay, bisexual, and transgender) identified individuals that has made it into mainstream consciousness. RuPaul’s Drag Race debuted in 2009 and appears on the channels, Logo and VH1. This thesis analyzes the four seasons from 2009 through 2012. RuPaul’s Drag Race provides a unique perspective on the ways that gender identity, sexuality, size, class, race, and ethnicity intersect and interact in people‟s lives. The television show augments many of these intersections and the challenges related to these identities while still reflecting the daily struggles that people experience.