DOCSLIB.ORG

100 Women: Collaborations Beyond the Veil

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
100 Women: Collaborations Beyond the Veil 100 Women: Collaborations Beyond The Veil Ginny Sykes Commemorating the 100th Anniversary of Women’s Suffrage and the Ratification of the 19th Amendment to the United States Constitution Acknowledgements This catalogue is published in conjunction with: 100 Women: Collaborations Beyond the Veil Exhibition Curated by Elizabeth Loch Based on the original solo performance August 26th-December 1st, 2020 and outdoor exhibition Woodson Regional Public Library at Dryphoto Arte Contemporanea in Prato, Italy 9525 S Halsted Street, Chicago Illinois by Ginny Sykes Strength in Suffrage: A Live Stream Event Hosted by the Chicago Women’s History Center Featuring: Video by Ginny Sykes Poetry by Carron Little In loving memory of Teresa Mangiacapra, for being with me from the beginning. THE CHICAGO WOMEN’S History Center was honored to and ways of knowing on every level. For us, knowledge of support the most recent presentation of Ginny Sykes’ women’s past activities – women’ history – was an essential spectacular public art project 100 Women: Collaborations ingredient in developing an enlarged consciousness that made Beyond the Veil during August, 2020; the 100th anniversary possible the explosion of women’s activism during this time. It month of the passage of the U.S. Women’s Suffrage was understood that knowledge of women’s history went hand Amendment. Through working with Ginny to develop an in hand with women’s social and political activism. interpretive video for her piece, and support bringing her work to a world-wide audience through a digital broadcast Since its start in the 1970s, CWHC has participated in, and, at on Women’s Equality Day 2020, I developed a profound times, been at the forefront of, many evolutions of thought, understanding of this project’s capacity to move, inspire, subject, and method in women’s history. In the 1990s, we communicate, illuminate, astound, and transform. researched, wrote, and published an award-winning seminal book, Women Building Chicago 1790 – 1990, a Biographical The Chicago Women’s History Center (CWHC) was founded Dictionary, which contains extensive biographies of 423 in the early 1970s, during the birth of the second wave Chicago women, and, in its choice of entries, emphasizes women’s movement, to research, preserve, interpret, diversity in backgrounds, class, race, ethnicity, and sexual publish, and disseminate women’s history. At the time, we orientation. Our current project, “Documenting Women’s regarded this effort as a political act, a rebellion against a Activism and Leadership in the Chicago Area, 1945 – 2000”, patriarchal system that erased women’s experiences, work, uses oral history interviews, collection of archival documents, and digital publishing to uncover, interpret, and share As a women’s historian, I am impressed with Ginny’s project information about women’s activism—particularly the on several levels. The mere fact that she interviewed and activism of women of color during the late 20th century. photographed 100 Chicago women of various ages, ethnicities, races, and backgrounds, and documented this Because of this long-range perspective, I am particularly material in the exhaustive catalog presented here is, in itself, a aware of the relevance of Ginny’s 100 Women: notable accomplishment, and a significant contribution to Collaborations Beyond the Veil project to our current women’s history. Beyond that, her ability to evoke both the historical moment, locally, nationally, and internationally. At a commonality and the specificity of the women photographed time when public monuments to famous men—symbols of a by posing them all in the same regal, draped dress with one racist, classist, sexist past—are being torn down in the name hand on their heart and one hand on their abdomen – the of a more enlightened and inclusive vision for society, seats of female intuition – brings a subtle sense of paradox, of Ginny’s one hundred beautiful banners honoring women’s “holding the tension of the opposites,” to the piece. It evokes collective power arrive to take their place. At a time when the the age old question at the heart of women’s history: are proper representation of history in the public arena and in women the same, or are they different? our curriculum are being questioned on every level, 100 Women: Collaborations Beyond the Veil steps in with quiet The form of Ginny’s piece is also remarkable. She has printed grace to reveal alternative possibilities. the full-length photos of each woman on translucent fabric, creating a series of banners that, when hung, gently approaching a crisis point, and our most precious democratic undulate. values are threatened, the power, beauty, dignity, intimacy, and passion expressed by 100 Women: Collaborations They are flexible and porous enough to let light through, but Beyond the Veil is certain to be experienced as a welcome at the same time, they are strong and resilient, reflecting intervention wherever it is displayed. attributes of the subjects they portray. This light-filled quality of the banners stands in striking contrast to more traditional I am happy to have been involved in this project during its masculine monuments crafted out of marble or stone. The emergence in Chicago. I hope that it will receive the generous form of the banners themselves are a reference to the support it deserves in order to be seen and appreciated by an original women suffragists who made powerful use of audience world-wide. banners bearing hand stitched slogans such as: "Mr. President: How Long Must Women Wait for Liberty" and — Mary Ann Johnson "More Ballots, Less Bullets." President, Chicago Women’s History Center Today, we are experiencing a roll back of women’s rights on a national and international level. At a time when women’s bodies are under assault, when reproductive rights and justice are under siege, when the natural world is MY ADMIRATION FOR Ginny Sykes, artist, friend, and meaningful, beautiful, and thoughtful contribution to this supporter, goes far back to 1994 when she exhibited her work important cause. in ‘Symbolic Visions’ together with Beatriz Ledesma, at Woman Made Gallery’s first Chicago location. — Beate Minkovski Co-Founding Director, Woman Made Gallery Since those early days, she has been actively producing and exhibiting her work, served as a juror in 1999 and 2006, had a solo show in 2008, and curated art entries for the ‘Body & Brain’ group exhibition in 2013. Ginny served on WMG’s board of directors from 2012 through 2017 and has advised the organization on a variety of important topics. I am truly honored and excited to share Ginny’s most recent artistic project, ‘100 Women: Collaborations Beyond the Veil’; a relevant and important exhibition to celebrate the 100th Anniversary of Women’s Suffrage. It is long overdue to empower and celebrate women in all public places, and I am so grateful to Ginny for her GINNY SYKES’ PROJECT 100 Women: Collaborations the self need each other … The self must have the body.”1 Beyond the Veil is a powerful addition to the feminist art Sykes also believes that the body contributes knowledge to tradition of image reclamation, and art making to advance the self. Hence the pose she has chosen for her subjects; social change. With the creation of 100 Women, Sykes has one hand on the chest and one on the abdomen, signalling replaced the pervasive marble tributes to patriarchy and to us a reminder that the body holds great wells of elemental racism with monumental images exalting women’s grace and insight and intuition. power, and illustrating the joining of identity and intellect with gut and heart. Many previous wave feminist artists and contemporary makers such as Hannah Wilke, Lynda Benglis, Lorna In 1972, the artist Eleanor Antin was invited to show Simpson, Valie Export, Mickalene Thomas, Cindy Sherman, sculpture in the Whitney Annual. She exhibited her now Wangechi Mutu, and many more, have explored the disparity iconic conceptual classical sculpture CARVING: A Traditional between the imposed external portrayals of women and the Sculpture. Antin recorded, in 148 black and white truer internal self-depictions. Addressing the simplified gaze photographs, the “carving” of her body into a classical that characterizes women subjects as monotone, Sykes sees sculpture by dieting for a month. As with Ginny Sykes, Antin her subjects as multi-faceted individuals. Rejecting the “male reclaimed the classical sculptural form to upend and gaze” that objectifies women, Sykes has given agency to her repurpose it. Referring to her 2017 piece Time’s Arrow, an subjects. Although the one hundred women assumed a update of Carving 45 years later, Antin said, “The body and prescribed pose, each participant was able to project their individual “seats of knowledge”, dignity, and power. The results are stunning portraits of optimism, fortitude, innocence, pride, and solemnity. Some women engaged the camera straight on, and others gaze off, perhaps to a better future. — Connie Tell Chair, National Committee of The Feminist Art Project Former Director, Center for Women in the Arts and Humanities, Rutgers University 1 Eleanor Antin video interview Eleanor Antin: Time's Arrow, LACMA, 2019 Introduction: These same women who brought this project to fruition, and It brings me immense joy to share this project with you. Such to whom I am so grateful, also made an offering. When they as life, 100 Women: Collaborations Beyond the Veil has stood for their photo and spoke out their story, they offered taken on many shapes since her conception. Through live community. In doing so, they ensured that when future performances in fabric, video and audio streams, and, women hear, see, read, or experience this journey, they can ultimately, storytelling through text; the core of our message know that they are not alone. and the women in these pages hold as true and as relevant as the very first time.
Load more

Recommended publications
  • As Things Should Be but Never Are
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-2-2012 As Things Should Be but Never Are Justin Burnell University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Burnell, Justin, "As Things Should Be but Never Are" (2012). University of New Orleans Theses and Dissertations. 1534. https://scholarworks.uno.edu/td/1534 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. As Things Should Be but Never Are A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of A Master of Fine Arts in Film, Theater, and Communication Arts Concentration in Creative Writing - Fiction by Justin Burnell BA University of New Orleans 2007 August 2012 Acknowledgments I cannot express my full gratitude to my thesis committee: Barb Johnson, Joseph Boyden, and Dr.
    [Show full text]
  • Songfest 2008 Book of Words
    A Book of Words Created and edited by David TriPPett SongFest 2008 A Book of Words The SongFest Book of Words , a visionary Project of Graham Johnson, will be inaugurated by SongFest in 2008. The Book will be both a handy resource for all those attending the master classes as well as a handsome memento of the summer's work. The texts of the songs Performed in classes and concerts, including those in English, will be Printed in the Book . Translations will be Provided for those not in English. Thumbnail sketches of Poets and translations for the Echoes of Musto in Lieder, Mélodie and English Song classes, comPiled and written by David TriPPett will enhance the Book . With this anthology of Poems, ParticiPants can gain so much more in listening to their colleagues and sharing mutually in the insights and interPretative ideas of the grouP. There will be no need for either ParticiPating singers or members of the audience to remain uninformed concerning what the songs are about. All attendees of the classes and concerts will have a significantly greater educational and musical exPerience by having word-by-word details of the texts at their fingertiPs. It is an exciting Project to begin building a comPrehensive database of SongFest song texts. SPecific rePertoire to be included will be chosen by Graham Johnson together with other faculty, and with regard to choices by the Performing fellows of SongFest 2008. All 2008 Performers’ names will be included in the Book . SongFest Book of Words devised by Graham Johnson Poet biograPhies by David TriPPett Programs researched and edited by John Steele Ritter SongFest 2008 Table of Contents Songfest 2008 Concerts .
    [Show full text]
  • Female Autobiography in the Nineteenth Century
    Bard College Bard Digital Commons Senior Projects Spring 2014 Bard Undergraduate Senior Projects Spring 2014 A Woman's Voice: Female Autobiography in the Nineteenth Century Penelope Rose Weber Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2014 Part of the United States History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Recommended Citation Weber, Penelope Rose, "A Woman's Voice: Female Autobiography in the Nineteenth Century" (2014). Senior Projects Spring 2014. 10. https://digitalcommons.bard.edu/senproj_s2014/10 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. A Woman’s Voice: Female Autobiography in the Nineteenth Century Senior Project submitted to The Division of Social Studies of Bard College By Penelope Weber Annandale-on-Hudson, New York May 2014 I would like to thank Christian Crouch and Richard Aldous for their flawless advising, Betsy Cawley for her wonderful research help, and all of my friends for putting up with my panic, complaints, and stress. Special thanks go to Percival Inkpen, Donald Long, and Chiara Harrison Lambe for their much-appreciated cheerleading and advice.
    [Show full text]
  • Towards a Historical View of Country Music Gender Roles
    Georgia State University ScholarWorks @ Georgia State University Sociology Theses Department of Sociology 12-4-2006 Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles Cenate Pruitt Follow this and additional works at: https://scholarworks.gsu.edu/sociology_theses Part of the Sociology Commons Recommended Citation Pruitt, Cenate, "Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/sociology_theses/12 This Thesis is brought to you for free and open access by the Department of Sociology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Sociology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STAND BY YOUR MAN, REDNECK WOMAN: TOWARDS A HISTORICAL VIEW OF COUNTRY MUSIC GENDER ROLES by CENATE PRUITT Under the Direction of Wendy S. Simonds ABSTRACT Country music, considered a uniquely American musical genre, has been relatively under-researched compared to rock and rap music. This thesis proposes research into the topic of country music, specifically the ways which country music songs portray gender. The thesis uses Billboard chart data to determine commercially successful songs, and performs a content analysis on the lyrics of these songs. I will select songs from a fifty year period ranging from 1955 to 2005, so as to allow for a longitudinal study of potential changes in
    [Show full text]
  • ····~····••1C·•-•
    ::::a. :-::::: :: ....... 3 24 7 9 ····~····••1c·•-•.... ;.; • i-·----~II ii•fi""li ,, • FOR WEEK ENOING:_ _,/__ _,_/_ __· _____ CYCLENO. C791 bPROGRAM_....1...,.2..____ 0F13 10700 Ventura Blvd. No. Hollywood. CA. 91604 SIDES IA ot lB - Phone: (213) 980-9490 PAGE NO. ---=1=---- SCHEDULED ACTUAL RUNNING START TIME TIME ELEMENT _..., TIME 00:00 THEME & OPENING OF PART 1 THEME: "MY KIND OF COUNTR (tfARK\VATER MUSIC/B1-iI) #40 DARLIN' - Kenny Ro rs (A) • #39 CAN I SEE YOU T• ,1GHT - Jewel Blanch (B) #38 SHOULDER TO OULDER (ARM AND ARM) - Roy Clark (A/ B) 9:08 9:06 LOGO: 1-fY Kifa -uF COUNTRY , MY KIND or i1usic , 9:08 LOCAL INSERT: C-1 2:00 / 11:08 LOGO: AMERICAN COUNTRY COUNT• v,'1\VN #37 LET'S KEEP IT TIIAT - Juice Newton (B) #36 DOWN ON THE RIO G .. NDE - Johnny Rodriguez (B) 7:22 18 : 28 LOGO: MY KIND 5JP COUNTRY, MY KIND OF MUSIC 18:30 LOCAL INSERT: C-2 ,,,--- 2:00 20:30 LOGO: AMERICAN COUNTRY~DOWN ·1 #35 I WANT TO THAN~U - Kim Charles (A) #34 ISN'T IT ALW/J,)iu LOVE - Lynn Anderson (B) 7:53 OLDIE: NO AN" w •~ TIME - Lynn Anderson (B) • 28:21 LOGO: MY KIND OF COUNTRY, MY KIND OF h1USIC b.,q~.,43 28:23 LOCAL INSERT: C-3 - 2:10 .., 30:33 LOGO: A?lfERICAN COUNTRY CO• • ;_M1wN #33 WALtING PIECE OF --.. VEN - Freddie Fender (B) #32 THIS IS A LOVE NG - Bill Anderson (A) OLDIE: YOU'RE T~x BEST THING THAT EVER HAPPENED TO ME - Ray Price (A) 10:59 41 : 30 LOGO: MY V ,D OF COUNTRY.
    [Show full text]
  • Tomboy As a Non-Conformist Reflected in the Song Lyrics of Terri Clark's One
    TOMBOY AS A NON-CONFORMIST REFLECTED IN THE SONG LYRICS OF TERRI CLARK’S ONE OF THE GUYS AND KRISTA MARIE’S TOMBOY A THESIS In Partial Fulfillment of the Requirements for the Bachelor Degree Majoring American Cultural Studies in English Department Faculty of Humanities Diponegoro University Arranged by: Kharisma Fitriana Abidin A2B007070 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2011 PRONOUNCEMENT The writer honestly confirms that she compiles this thesis by herself and without taking any results from other researchers in S-1, S-2, S-3 and diploma degree of any university. The writer ascertains also that she does not quote any material from other publications except from the reference mentioned. Semarang, December 2011 Kharisma Fitriana Abidin MOTTO AND DEDICATION “My momma always said life was like a box of chocolates. You never know what you’re gonna get.” (Forrest (Tom Hanks), Forrest Gump ) “Kahanan donya ora langgeng, mula aja ngegungake kesugihan lan drajatira, awit samangsa ana wolak-waliking jaman ora ngisin-isini.” (Javanese Proverb) “Well done is better than well said.” (Benjamin Franklin) I dedicate this thesis to everyone who has made my life meaningful APPROVAL Approved by, Thesis Advisor Drs. Sunarwoto, M.S, M.A. NIP. 194806191980031001 VALIDATION Approved by Strata 1 Thesis Examination Committee Faculty of Humanities Diponegoro University On December 2011 Chair Person Dra. Christina Resnitriwati, M.Hum NIP. 19560216 198303 2001 First Member Second Member Drs. Sunarwoto, M.S, M.A. Arido Laksono, S.S, M.Hum. NIP. 19480619 198003 1001 NIP. 19750711 199903 1002 ACKNOWLEDGEMENT First of all, I would like to bestow my deepest gratitude to Allah SWT, God of the universe, for all the blessings and guidances so finally I can complete my thesis entitled “Tomboy As a Non-conformist Reflected In The Song Lyrics of Terri Clark’s One of The Guys and Krista Marie’s Tomboy.
    [Show full text]
  • Heforshe Writing Contest Anthology (Pdf.)
    HOLDING THE DOOR THE LEGACY LIES IN OUR HOME ON BEING A WOMAN A BEING ON LEGACY TO BE REMEMBERED BE TO THE PYRAMID WHAT MY FATHER BEGAN FATHER MY WHAT DANCE THE BRAVE FACE A LIFE’S WORK WHAT SHE WAS EPITAPH REWRITTEN JOURNEY TO ALONE SOMNAMBULIST THE IMPACT OF EMPATHY THANK YOU, MOM JUST CONVERSATIONS LEGACY THE SALT STORY DAUGHTERS OF WOMYN AN ANTHOLOGY FROM THE UNIVERSITY OF WATERLOO’S UPROOTED WRITING CONTEST 2020 SURREAL REFLECTIONS ON A POSSIBLE LEGACY EXCERPTS FROM A WRITTEN ORAL HISTORY OF A YOUNG CONTENTS OF A JEWELLERY BOX QUEER WOMAN OF COLOUR, POSTERITY AS FOR TOLD LEGACY BY BEST HERSELF THE – EQUITY FOR ADVOCATING THE STUDENT AND THE GOOSE TO MY MOTHER BY ANY OTHER NAME DIVINE INTERVENTION LEGACY AS IT RELATES TO INTERSECTIONAL GENDER EQUITY SHATTERED LANCES SHATTERED WRITING HOLLY’S LEGACY HOLLY’S WRITING SAINT MARTINA DEAR SON THE “MASTERS” OF TYPING OF “MASTERS” THE TO MY FUTURE GRANDDAUGHTER DEAR ONARI DEAR HeForShe IMPACT 10x10x10 Framework The University of Waterloo is proud of its commitment and action to achieve gender equity. This commitment inspired the institution’s participation and leadership in the HeForShe IMPACT 10x10x10 framework almost five years ago. The Framework is comprised of 10 Heads of State, 10 global CEOs and 10 Universities, including the University of Waterloo. HeForShe is a worldwide movement that engages people of all ages to write, speak and act in the name of equity. In its sixth year, the movement continues to advocate for individuals who identify as women, and elevate the voices of those who experience historical and on-going marginalization.
    [Show full text]
  • Spinsters, Old Maids, and Cat Ladies: a Case Study in Containment Strategies
    SPINSTERS, OLD MAIDS, AND CAT LADIES: A CASE STUDY IN CONTAINMENT STRATEGIES Katherine Sullivan Barak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2014 Committee: Ellen Berry, Advisor Vikki Krane Graduate Faculty Representative Sarah Smith Rainey Marilyn Motz © 2014 Katherine Sullivan Barak All Rights Reserved iii ABSTRACT Ellen Berry, Advisor Using Michel Foucault’s notion of “containment strategies,” this dissertation argues that representations of the crazy cat lady, the reprehensible animal hoarder, the proud spinster, and the unproductive old maid negatively frame independent, single women as models of failed White womanhood. These characters must be contained because they intrinsically transgress social norms, query gender roles, and challenge the limitations of mediated womanhood. In order to explore the role of representation, this dissertation provides a suggestive history of the ways spinsters and old maids evolved into their current iteration, the cat lady. The research begins by tracing cultural representations of cats and women from 2000 BCE through the early modern period. After this retrospective, the research focuses on two particular points of cultural anxiety connected to changing gender roles: the turn of the 20th and 21st centuries. During the former, the media characterized spinsters and old maids as selfish, proud, unnatural, unproductive, and childish in newspapers, magazines, and pamphlets. Rather than focusing exclusively on the negative coverage, this dissertation deeply analyzes three transgressive novels, Agnes Grey, An Old-Fashioned Girl, and Lolly Willowes: Or the Loving Huntsman, to contextualize the ways positive representations of spinsters and old maids could threaten patriarchal society.
    [Show full text]
  • Leading Women: Henry James and Feminism in the Portrait of a Lady, the Bostonians and the Golden Bowl Emily Boockoff
    Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-12-2015 Leading Women: Henry James and Feminism in The Portrait of a Lady, The Bostonians and The Golden Bowl Emily Boockoff Follow this and additional works at: http://vc.bridgew.edu/honors_proj Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Boockoff, Emily. (2015). Leading Women: Henry James and Feminism in The Portrait of a Lady, The Bostonians and The Golden Bowl. In BSU Honors Program Theses and Projects. Item 85. Available at: http://vc.bridgew.edu/honors_proj/85 Copyright © 2015 Emily Boockoff This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Leading Women: Henry James and Feminism in The Portrait of a Lady, The Bostonians and The Golden Bowl Emily Boockoff Submitted in Partial Completion of the Requirements for Commonwealth Honors in English Bridgewater State University May 12, 2015 Dr. John Kucich, Thesis Director Dr. Ellen Scheible, Committee Member Dr. Elizabeth Veisz, Committee Member Boockoff 2 Table of Contents Introduction: Henry James and the Women in His Life……………………………. 3 Chapter 1: Portrait of a Lady, with Mentors……………………………………….. 10 Chapter 2: The Bostonians and the Complication of Marriage…………………….. 21 Chapter 3: Finding Fulfillment in The Golden Bowl………………………………. 33 Works Cited………………………………………………………………………... 46 Boockoff 3 Henry James is a controversial nineteenth-century British-American author. He is often misunderstood because he kept his private life very private. His family moved back and forth from England to the northeastern United States, following his father, who was an intellectual following the religion of Swedenborg.
    [Show full text]
  • My Kind of Country11 (Markwater Music/Bm!) #40
    FOR WEEK ENDING: 3 / 1 7 / 79 10700 Ventura Blvd. No. Hollywood, Ca. 91604 CYCLE NO. C791 PROGRAM 11 OF 13 Phone: (213) 980-9490 SIDES: lA & lB PAGE NO. _1=---- SCHlt>UlfO A-CTUAl RUNNING ST.ART TIME TIME ELEMENT TIME 00:00 THEME & OPENING OF PART I THEME: "MY KIND OF COUNTRY 11 (MARKWATER MUSIC/BM!) #40 - LET'S KEEP IT THAT WAY - Juice Newton (B) #39 - WALKING PIECE OF HEAVEN - Freddie Fender (B) #38 - THIS IS A LOVE SONG - Bill Anderson (A) 10:49 10:47 LOGO: MY KIND OF COUNTRY, MY KIND OF MUSIC 10:49 LOCAL INSERT: C-1 2:00 12:49 LOGO: AMERICAN COUNTRY COUNTDOWN #37 - SECOND-HAND SATIN LADY (AND A BARGAIN BASEMENT BOY) - Jerry Reed (B) #36 - I'LL LOVE AWAY YOUR TROUBLES FOR AWHILE - Janie Fricke 6:13 19:00 LOGO: MY KIND OF COUNTRY, MY KIND OF MUSIC (A) LOCAL INSERT: C-2 2:00 21:02 LOGO: AMERICAN COUNTRY COUNTD01VN #35 - I WANT TO THANK YOU - Kim Charles (A) #34 - SOMEONE IS LOOKING FOR SOMEONE LIKE YOU - Gail Davies (B) 6:33 27:33 LOGO: MY KIND OF COUNTRY, MY KIND OF MUSIC 27:35 LOCAL INSERT: C-3 2:00 29:45 LOGO: AMERICAN COUNTRY COUNTDOWN #33 - LOVE IS SOMETIMES EASY - Sandy Posey (A) #32 - BACK SIDE OF THIRTY - John Conlee (B) #31 - LOVING YOU IS A NATURAL HIGH - Larry G. Hudson (B) 10:08 39:51 LOGO: MY KIND OF COUNTRY, MY KIND OF MUSIC 39:53 LOCAL INSERT: 2:00 41:53 LOGO: AMERICAN COUNTRY COUNTDOWN #30 - TOUCH ME WITH MAGIC - Marty Robbins (B) OLDIE: BIG IRON - Marty Robbins (B) 7 :36 49:27 LOGO: MY KIND OF COUNTRY, MY KIND OF MUSCI LOCAL INSERT: C-S 2:00 51:29 LOGO: AMERICAN COUNTRY COUNTDOWN #29 - SHADOWS OF LOVE - Rayburn Anthony (B) #28 - FANTASY ISLAND - Freddy Weller (B/A) 6:03 57:32 THEME UP & UNDER \'I /TALK UNIT ENDING AT: 57: 40 THEME TO: 57:50 • LOCAL INSERT: 2:00 57:50 C-6 STATION 1.0 .: : 10 , 3 7 79 10700 Ventura Blvd.
    [Show full text]
  • Woman Or Warrior? How Believable Femininity Shapes Warrior Women
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2011 Woman or warrior? How believable femininity shapes warrior women Jessica D. McCall University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the American Popular Culture Commons, Comparative Literature Commons, Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, Literature in English, North America Commons, and the Medieval Studies Commons Repository Citation McCall, Jessica D., "Woman or warrior? How believable femininity shapes warrior women" (2011). UNLV Theses, Dissertations, Professional Papers, and Capstones. 953. http://dx.doi.org/10.34917/2293987 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. WOMAN OR WARRIOR? HOW BELIEVABLE FEMININITY SHAPES WARRIOR WOMEN by Jessica D. McCall Bachelor of Arts Western Illinois University 2003 Master of Arts University of Massachusetts, Boston 2007 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy in English Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas May 2011 Copyright by Jessica D.
    [Show full text]
  • Abstract African American Studies Bobbitt, Sivi Kenyatta B.A. Johnson C. Smith University, 1994 S'ticks and Stones May Break My
    ABSTRACT AFRICAN AMERICAN STUDIES BOBBITT, SIVI KENYATTA B.A. JOHNSON C. SMITH UNIVERSITY, 1994 S'TICKS AND STONES MAY BREAK MY BONES BUT RAP CAN NEVER HURT ME: MC LYTE'S PORTRAYAL OF AFRICAN-AMERICAN IMAGES OF WOMEN IN THE HIP HOP CULTURE Advisor: Dr. Daniel Black Thesis date December 2008 This thesis examines the definition and redefinition of women's images through the music of MC Lyte. My research demonstrates how MC Lyte has emerged from the male-dominated Hip Hop demoralization of women and how MC Lyte uses her music and media to empower young females. This thesis explores the history of Hip Hop and culture, and how MC Lyte has evolved and changed the way women are seen in Hip Hop. l'he objective of this thesis is to examine MC Lyte and how her music evolved and empowered females in Hip Hop music. This research uses scholarly works of Clenora Hudson Weems (1 993). African Womanist, Gwendolyn Pough's (2004) Check it While I Wreck It, as well as the input of Tricia Rose's (1 994) Black Noise Rap Adusic and Black Culture in Contemporary America. These scholarly works, not only delve into the Hip Hop world, but also the issues that plague women, feminism, and the Afiican- American movement. This thesis analyzes lyrics from MC Lyte as a tool to clearly see the struggles and progressions that women have endured within the Hip Hop culture. 1 It is the intent of the researcher to show how black womanhood has been defined and redefined as it emerges in black Hip Hop music and to appreciate the unity of the black female voice through the music of MC Lyte.
    [Show full text]