DOCSLIB.ORG

UNIVERSITY of CALIFORNIA Los Angeles Queering

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of CALIFORNIA Los Angeles Queering UNIVERSITY OF CALIFORNIA Los Angeles Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theatre/Performance Studies by Thomas Howard Fitzgerald 2013 ABSTRACT OF THE DISSERTATION Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities. by Thomas Howard Fitzgerald Doctor of Philosophy in Theatre and Performance Studies University of California, Los Angeles, 2013 Professor Sue Ellen Case, Chair This dissertation will examine black gay theatre/ performance in the United States from 1970 to 2010. My intent is to establish a genealogy of black gay performance by situating performance strategies of visibility employed by black gay men in the late 20th century utilizing various performance genres such as revue, theatrical biography, the “event” and history play. Specifically, I am interested that this writing act as a discursive in interrogating the historiography of the tactics of black gay visibility in contrast to and in concert with traditional heterosexual black masculinities where the overall effort was to distinguish a queer black aesthetic separate from the white gay project. My research is necessarily involved with both gay and black performances in this period, since a study of black gay performance practices cannot be pulled away from the black experience in America. Identity politics is the conduit to self- empowerment for black and gay liberation movements, for similar reasons. Accordingly, the project study will concentrate on three areas: (1) social trends and historiography, (2) select black gay performances in this period, and (3) theories of queer and racial identification. ii The dissertation of Thomas Howard Fitzgerald is approved. Shelley Salamensky Arthur Little Gary Gardner Sue Ellen Case, Committee Chair University of California, Los Angeles 2013 iii I dedicate this dissertation to the memory of my lovely sister, Althea iv TABLE OF CONTENTS Introduction…………………………………………………………………………1-11 Chapter 1: Norman is That You?: A Black Gay Man in Exile……………………..12-62 Chapter 2: Postmodern African Homosexuals in Revue……………………………63-119 Chapter 3: Documenting Black Gay Folks in E Patrick Johnson’s Sweat Tea……..120-173 Chapter 4: bonded: Masculinities, Slave Narratives and the Melodrama of Performance…………………………..174-224 v ACKNOWLEDGEMENTS I started the doctoral program in an unawareness of where it might lead me. Of course I knew of the prestige that accompanied a doctorate degree but as I understood more of what was expected of me, I saw that it wasn’t just the letters after one’s name that brought prestige but the work behind those letters. I can hardly say that the work was a labor of love all the time but I came to realize the significance of what was I was trying to complete. The idea of being an educator, of being a public servant and of being an asset to the professors who mentored me along the way took precedent in my striving to fulfill this awesome honor. It is to those role models, personal and professional, that I owe a great deal of gratitude and respect. My committee chair, Sue Ellen Case welcomed me into the doctoral program with a strict dense of direction and mentorship. I will be forever grateful to her for directing me toward a precise scholarship. Her seminar on “Identity and Identification” was my inspiration for this project. We spent hours in her office, sharing our love of theatre, discussing the complications of gendered and racialized performances. Amidst the many revelations (while she shared half of her lunch with me) was a relaxing sometimes humorous but always illuminating exchange of ideas. Her words helped to renew my flagging interest in the theatre conveying to me a new perspective on the theatre’s possibilities in its treatment of the marginalized. I owe the shape and theoretic stylings of this dissertation to her long time and esteemed experience. vi Many thanks of gratitude to my committee: Professor Shelley Salamenksy took me “home and away.” It was in her seminar where I discovered the intriguing mystery of historiography and the motivation to keep digging through archives for more questions and answers. I am beholden to Professor Arthur Little who steered me toward excellence in my writing eccentricities. He also provided me with many resources of the Afro-queer experience outside of the theatre. Professor Gary Gardner gave me encouragement and support and a warm smile. I acknowledge my breakfast club buddies, who provided spiritual sustenance, strength and hope. They inquired about my progress at every turn of the road and helped me to understand that they would be present for me no matter what the outcome. I must single out friends such as Kiké Adedeji, Saundra Mandel, Dana Simmons and Belinda Vidaurri who gave me encouragement and the ability to see the positive in the challenges. Finally, it is my family that I am forever indebted to for their unwavering support, generosity and encoragement. I could not have accomplished getting through the years of doctoral seminars and the dissertation writing had it not been for their palpable unconditional love and affection. It is to them that I owe my humanity. vii Thomas Fitzgerald Education California State University, Los Angeles Master of Arts in Theatre Arts, 2005 California State University, Los Angeles Bachelor of Arts in Theatre Arts, 1996 Awards/Distinctions: University Fellowship, University of California, Los Angeles, 2010 Fred Thorp Fellowship, , Department of Theatre, Film and Television, University of California, Los Angeles 2010 Executive Board Award, Department of Theater, Film and Television, University of California, Los Angeles, 2009 Edward Cota Robles Fellowship, University of California, Los Angeles, 2008 Courses Taught Introduction to Theatre (Theatre 10) Teaching Associate. Introductory undergrad course in Theatre practices, history and theory. Lectured on Suzan Lori Parks/ The America Play. Graded quizzes, mid-term and final exams and term papers. One quarter. (Spring 2013) University of California, Los Angeles Introduction to Lesbian, Gay, Bisexual, and Transgender Studies (Gender Studies M114) Teaching Associate. Led weekly discussion sections on LGBTQ history, gender, race and queer theory. Graded quizzes, and term papers. One quarter. (Fall 2012) University of California, Los Angeles Making Traditions, (Theatre 101 B) Teaching Associate: Lectured on Race and Reconstruction in Othello. Led weekly discussion sections, wrote quizzes based on assigned readings, graded quizzes, final papers and final presentations. Collaborated with the course professor on mid-term and final presentations themes. One quarter. (Winter 2011) University of California, Los Angeles Reconstructing the Theatrical Past (Theatre 101 A) Teaching Associate: Lectured on Classical Japanese Theatre. Same as above. One quarter. (Fall 2010) University of California, Los Angeles viii Deconstructing Theatre (Theatre 101 C) Teaching Assistant: Lectured on Porcelain and the Performativity of Masculinity. Same as above. One quarter (Spring 2010) University of California, Los Angeles Reconstructing the Theatrical Past (Theatre 101 B) Teaching Assistant: Lectured on The Ethnic Other in Shakespeare. Same as above. One quarter (Winter 2010) University of California, Los Angeles Making Traditions (Theatre 101 A) Teaching Assistant: Lectured on Blackface Minstrelsy: An American Theatre Convention. Same as above. One quarter (Fall 2009) University of California, Los Angeles Publications “Art and the Nation-State: Cải Lương and the Performance of Vietnamese Identity”: An Interview with Khai-Thu Nguyen, Extensions, On-line Theatre/Performance Studies Graduate Journal, UCLA Fall 2010 Editor, John Lion New Plays Anthology, published by California State University, Los Angeles, 2005 Presentation “Civil Sex: The Life of Modern Black Gay Activist Bayard Rustin.” ATHE 2012 “Minstrelysed Images in Suzan-Lori Parks’ Topdog/Underdog.” Comparative Literature Conference, sponsored by Loyola Marymount- Panel Topic, “Women Playwrights.” April 2006. Professional and Related Experience Dramaturg- The Cloud Gatherer, selected for the 2008 American College Theatre Festival (KCACTF Region VIII Festival 40) Dramaturg- Liberty Oregon (2004), The Cloud Gatherer (2006) and The Houseguest from Xinjiang (2007) at CSULA. ix INTRODUCTION A movement of modernity is underway surrounding identities and identifications of black and gay performance/performativity of masculinities. In reaction to an absentia from American culture, black and white, the black gay subject has reclaimed a vandalized ontology as free agents returning from an imposed (sometimes self-induced) exile. Particularly, black gay men have sought avenues of resistance to this “death by perception” through stage performance. To this effort, black gay theatre practitioners have found the creative means to affirm what Essex Hemphill, 1980s Afro-queer activist, would call “the ass splitting truth” to their respective constituencies altering the public discourse on black male gayness. Moreover, the relationship between the circulating representations of black gay males in concurrence with a pervasive and resilient image of black hyper masculinity in the American theatre has undergone such disruptions that gradual acknowledgment of sexual variance in the black community is evidence of shifting generational attitudes. Even though the inconsistency of
Load more

Recommended publications
  • Gang War Erupts in Combat Zone
    WEATHER & GOSSIP OPINION TECH LIFESTYLES ENTERTAINMENT BUSINESS WORLD NEWS HAZARDS Gang War Erupts in Combat Zone By jericho hunt • Night City • 2 Hours Ago Earlier today, the northern sector of the Combat Zone was body conversions and heavily augmented individuals thrust into chaos as tensions between the Iron Sights and either on the edge of or in the grip of cyberpsychosis, the Red Chrome Legion exploded into a full-scale con- lost influence and territory during the Time of the Red. It flict. Bullets flew and rippers sliced as these two violent wasn’t until a recently that the Iron Sights began to see gangs released months of pent up hostility on each other a rise in membership once again. This increase in their and any unfortunate Night City resident that wandered ranks was initially attributed to individuals suffering into their bloody feud. NCPD officers are already on from cyberpsychosis who joined their ranks after fail- the scene attempting to quell this senseless violence but ing to reincorporate into society. But recently, intrepid the sighting of multiple full-body conversions in the fray reporter Jericho Hunt unearthed a discovery that will has necessitated the involvement of C-SWAT. No doubt shock the city and most definitely sheds light on this cur- this conflict will boil over beyond the Combat Zone as rent massacre. Undercover, at a Nomad operated train it escalates. station on the outskirts of Night City, Hunt witnessed a handoff between known Iron Sights affiliates and a mys- But what could have caused this bloodbath? Could there terious cabal of men in black suits.
    [Show full text]
  • Heteronormativity, Penalization, and Explicitness: a Representation of Homosexuality in American Drama and Its Adaptations
    Heteronormativity, Penalization, and Explicitness: A Representation of Homosexuality in American Drama and its Adaptations by Laura Bos s4380770 A thesis submitted to the faculty of Radboud University Nijmegen in partial fulfillment of the requirements for the degree of Master of Arts Radboud University 12 January, 2018 Supervisor: Dr. U. Wilbers Bos s4380770/1 Table of Contents Abstract 2 Introduction 3 1. Homosexuality in Twentieth-Century America 5 1.1. Homosexuality in the United States: from 1900 to 1960s 5 1.1.1. A Brief History of Sodomy Laws 5 1.1.2. The Beginning of the LGBT Movement 6 1.1.3. Homosexuality in American Drama 7 1.2. Homosexuality in the United States: from 1960s to 2000 9 1.2.1 Gay Liberation Movement (1969-1974) 9 1.2.2. Homosexuality in American Culture: Post-Stonewall 10 2. The Children’s Hour 13 2.1. The Playwright, the Plot, and the Reception 13 2.2. Heteronormativity, Penalization, and Explicitness 15 2.3. Adaptations 30 3. Cat on a Hot Tin Roof 35 3.1. The Playwright, the Plot, and the Reception 35 3.2. Heteronormativity, Penalization, and Explicitness 37 3.3. Adaptations 49 4. The Boys in the Band 55 4.1. The Playwright, the Plot, and the Reception 55 4.2. Heteronormativity, Penalization, and Explicitness 57 4.3. Adaptations 66 Conclusion 73 Works Cited 75 Bos s4380770/2 Abstract This thesis analyzes the presence of homosexuality in American drama written in the 1930s- 1960s by using twentieth-century sexology theories and ideas of heteronormativity, penalization, and explicitness. The following works and their adaptations will be discussed: The Children’s Hour (1934) by Lillian Hellman, Cat on a Hot Tin Roof (1955) by Tennessee Williams, and The Boys in the Band (1968) by Mart Crowley.
    [Show full text]
  • Translating Expertise Across Work Contexts: U.S. Puppeteers Move
    ASRXXX10.1177/0003122420987199American Sociological ReviewAnteby and Holm 987199research-article2021 American Sociological Review 2021, Vol. 86(2) 310 –340 Translating Expertise across © American Sociological Association 2021 https://doi.org/10.1177/0003122420987199DOI: 10.1177/0003122420987199 Work Contexts: U.S. Puppeteers journals.sagepub.com/home/asr Move from Stage to Screen Michel Antebya and Audrey L. Holma Abstract Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar techniques, puppeteers on stage ground their claims to expertise in a dialogue with spectators and view expertise as achieving believability; by contrast, puppeteers on screen invoke the need to deliver on cue when dealing with producers, directors, and co-workers and view expertise as achieving task mastery. When moving between stage and screen, puppeteers therefore prioritize the needs of certain audiences over others’ and gradually reshape their own views of expertise. Our findings embed the nature of expertise in experts’ ordering of types of audiences to attend to and provide insights for explaining how expertise can shift and become co-opted by workplaces. Keywords expertise, audiences, puppetry, film and television Expertise has become a fundamental currency of cases (Abbott 1988:8).
    [Show full text]
  • Rebecca Sugar Songs from Adventure Time & Steven
    REBECCA SUGAR SONGS FROM ADVENTURE TIME & STEVEN UNIVERSE This book is a collection of ukulele tabs for songs by Rebecca Sugar from shows Adventure Time and Steven Universe. Tabs, lyrics, and background art by Rebecca Sugar. Rebecca Sugar is an American artist, composer, and director who is best known for being a writer and storyboard artist on Adventure Time as well as being the creator of Steven Universe. Material gathered and book designed by Angela Liu. Cover art and icons provided by Angela Liu. Made for Communication Design Fundamentals, 2015 (Carnemgie Mellon University). Table of Contents Adventure Time 4 - As a Tropical Island 6 - Oh Fionna 8 - My Best Friends in the World 10 - Remember You 12 - Good Little Girl Steven Universe 14 - Steven Universe Theme 16 - Be Wherever You Are As a Tropical Island Adventure Time / Season 3, Ep 2: Morituri Te Salutamux Air date: July 18, 2011 G C D7 G On a tropical island, on a tropical island. G C D7 G On a tropical island, on a tropical island! G C On a tropical island, D7 G Underneath a motlen lava moon. G C Hangin’ with the hoola dancers, D7 G Asking questions cause they got all the answers. G G Puttin’ on lotion, sitting by the ocean. C D7 Rubbin’ it on my body, rubbin’ it on my body. G G B7 Cmaj7 Get me out of this ca-a-ave, C7 G B7 Cmaj7 cause’ it’s nothin’ but a gladiator gra-a-ave. G G B7 Cmaj7 And if we stick to the pla-a-an, C7 G B7 Cmaj7 I think I’ll turn into a lava ma-a-an.
    [Show full text]
  • The Boys in the Band: L'opera Teatrale Manifesto Del Movimento Gay, Al
    VENERDì 7 FEBBRAIO 2020 A distanza di cinquant'anni dalla nascita del Movimento LGBT (giugno 1969, New York, Greenwich Village) e dopo le sei anteprime tenutesi a giugno allo Spazio Teatro 89 di Milano, inizia a breve la sua avventura per The Boys In The Band: l'opera i teatri italiani The Boys In The Band, l'opera teatrale del commediografo teatrale manifesto del movimento americano Mart Crowley, diventata manifesto del Movimento stesso. gay, al Teatro Nuovo di Milano dal 14 al 16 febbraio 2020 Pietra miliare della storia del teatro - prima commedia a tematica gay per il grande pubblico - questo testo viene per la prima volta proposto al pubblico italiano grazie alla traduzione e all'adattamento di Costantino della Gherardesca, che lo produce accanto a Giorgio Bozzo, il regista. The Boys In The Band andò in scena per la prima volta al Theatre Four di CRISTIAN PEDRAZZINI New York il 14 aprile del 1968 e, contro ogni previsione, rimase in cartellone per 1001 repliche fino al 6 settembre del 1970, divenendo così un punto di riferimento, un luogo di ispirazione per le prime grandi battaglie del Movimento omosessuale americano che ebbero inizio nel 1969. Un vero e proprio fenomeno di costume, uno spettacolo [email protected] precursore dei tempi in grado non solo di anticipare i fermenti sociali, SPETTACOLINEWS.IT politici ed artistici della comunità Lgbt, ma anche di conservare la propria forza negli anni e di essere oggi più che mai un'opera di strettissima attualità. Nel 1970 la commedia divenne anche un film per la regia di William Friedkin che in Italia uscì nelle sale con il titolo "Festa di compleanno per il caro amico Harold".
    [Show full text]
  • Forgotten Tales a Thesis Presented to the Faculty of the College of Arts And
    Forgotten Tales A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Lindsey A. Fischer April 2017 ©2017 Lindsey A. Fischer. All Rights Reserved. 2 This thesis titled Forgotten Tales by LINDSEY A. FISCHER has been approved for the department of English and the College of Arts and Sciences by Patrick O’Keeffe Assistant Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT FISCHER, LINDSEY A., M.A., April 2017, English Forgotten Tales Director of Thesis: Patrick O’Keeffe This collection of short stories retells fairy tales and myths to bring out themes of feminism, heroism, and forgotten voices. The critical introduction is an investigation into the history of fairy tale retellings, and how we can best write works that engage in a conversation with other stories. This intro also argues for a return to the oral tradition, which is how these original fairy tales and myths were told, in order to evoke the spontaneity of oral performance. This project is interested in story-telling, from our childhood to adulthood, as I create a new canon of fairy tales for grown-ups. 4 DEDICATION To my parents and brothers for their love and support, to E. for believing in me, and to the wonderful literary nerds in Ellis 8 for the inspiration 5 ACKNOWLEDGMENTS This project would never have happened without the advice and guidance of my adviser, Patrick O’Keeffe. Thank you for all the editing and encouragement.
    [Show full text]
  • Banks Date Range: 6/01/2013 Thru 6/30/2013
    7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 1 VENDOR SET: 99 CITY OF SEABROOK BANK: * ALL BANKS DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT C-CHECK VOID CHECK V 6/05/2013 114982 C-CHECK VOID CHECK V 6/05/2013 115020 C-CHECK VOID CHECK V 6/12/2013 115071 C-CHECK VOID CHECK V 6/26/2013 115197 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 0 0.00 0.00 0.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 4 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 VENDOR SET: 99 BANK: * TOTALS: 4 0.00 0.00 0.00 BANK: * TOTALS: 4 0.00 0.00 0.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 2 VENDOR SET: 08 CITY OF SEABROOK BANK: 08 Debt Service Fund DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT 0011 FULBRIGHT & JAWORSKI, LLP I-11208164 BOND COUNSEL R 6/19/2013 001127 08 808-5472 BOND ISSUANCE COSTS BOND COUNSEL 25,155.00 25,155.00 *** VENDOR TOTALS *** 1 CHECKS 25,155.00 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 1 0.00 0.00 25,155.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 0 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 ** G/L ACCOUNT TOTALS ** G/L ACCOUNT NAME AMOUNT ---------------------------------------------------------------------- 08 808-5472 BOND ISSUANCE COSTS 25,155.00 *** FUND TOTAL *** 25,155.00 VENDOR SET: 08 BANK: 08 TOTALS: 1 25,155.00 0.00 25,155.00 BANK: 08 TOTALS: 1 25,155.00CR 0.00 25,155.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 3 VENDOR SET: 70 CITY OF SEABROOK BANK: 70 SEDC 2 DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D.
    [Show full text]
  • Thomas Fountain Collection Prepared by Piruz Haney 2019
    1 Finding Aid for the Thomas Fountain Collection Prepared by Piruz Haney 2019 Collection Summary Title: Thomas Fountain Collection Span Dates: 1987-2003 Bulk Dates: 1997-2003 Creator: Thomas Fountain Extent: 6 boxes Language: English Repository: Nancy Staub Puppetry Research Library Center for Puppetry Arts 1404 Spring St NW Atlanta, GA 30309 Abstract: Contains scripts related to the career of film and television puppeteer Thomas “Thom” Fountain with a focus on the TV series “Sabrina, the Teenage Witch”. Administrative Information: Provenance: This collection contains materials donated to the Center for Puppetry Arts (CPA) by puppeteer Thom Fountain from his time working on various TV and movie productions. Processing History: The donation by Thom Fountain to the CPA was made in 2011. In the Spring of 2019, preservation methods were undertaken to remove all metal fasteners and replace them with more stable clips. Rehousing efforts, which began prior to 2019, were completed by transferring all documents to archival boxes. Documents were unscrambled and a finding aid was created. As of May 2019, this collection has not been processed within the Past Perfect system. Copyright Status: Some material may be copyrighted or restricted. It is the patron's obligation to determine and satisfy copyright or other case restrictions when publishing or otherwise distributing materials found in the collections. Access and Restrictions: The records of the Nancy Lohman Staub Archives collection are open to research by appointment only. The library and archives are open Monday-Friday from 9:00 to 3:00, it is suggested that researchers call a week in advance to set up an appointment.
    [Show full text]
  • Dark Mermaids
    _________________________________________________________________________Swansea University E-Theses Dark Mermaids. Lauppe-Dunbar, Anne How to cite: _________________________________________________________________________ Lauppe-Dunbar, Anne (2012) Dark Mermaids.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42723 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ DARK MERMAIDS Anne Lauppe-Dunbar Submitted to Swansea University in fulfilment of the requirements for the Degree of Doctor of Philosophy Swansea University 2012 ProQuest Number: 10807492 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10807492 Published by ProQuest LLC(2018).
    [Show full text]
  • Rebecca Sugar Songs from Adventure Time & Steven
    REBECCA SUGAR SONGS FROM ADVENTURE TIME & STEVEN UNIVERSE 1 Table of Contents Adventure Time 4 - As a Tropical Island 5 - Oh Fionna 6 - My Best Friends in the World 8 - Remember You 10 - All Gummed Up Inside 11 - Oh Bubblegum 12 - Good Little Girl Steven Universe 14 - Steven Universe Theme 15 - End Credits Song 16 - Drive My Van Into Your Heart 18 - Giant Woman 19 - Be Wherever You Are 20 - Strong in the Real Way This book is a collection of ukulele tabs for songs by Rebecca Sugar from shows Adventure Time and Steven Universe. Tabs, lyrics, and background art by Rebecca Sugar. Rebecca Sugar is an American artist, composer, and director who was a writer and storyboard artist on Adventure Time and is the creator of Steven Universe. Material gathered and book designed by Angela Liu. Cover art and icons provided by Angela Liu. Made for Communication Design Fundamentals, 2015. 2 3 As a Tropical Island Oh Fionna Adventure Time / Season 3, Ep 2: Morituri Te Salutamux Adventure Time / Season 3, Ep 9: Fionna and Cake Air date: July 18, 2011 Air date: September 5, 2011 G C D7 G C E7 Am On a tropical island, on a tropical island. I feel like nothing was real, until I met you. G C D7 G Dm G7 C G7 On a tropical island, on a tropical island! I feel like we connect, and I really get you. C E7 Am G C If I said “You’re a beautiful girl,” would it upset you? On a tropical island, Dm G7 D7 G Because the way you look tonight, Underneath a motlen lava moon.
    [Show full text]
  • )-4*********************************************** * Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
    DOCUMENT RESUME ED 369 531 PS 022 279 AUTHOR Charney, Ruth Sidney TITLE Teaching Children to Care: Management in the Responsive Classroom. INSTITUTION Northeast Foundation for Children, Greenfield, MA. REPORT NO ISBN-0-9618636-1-7 PUB DATE 93 NOTE 306p. AVAILABLE FROMNortheast Foundation for Children, 71 Montague City Road, Greenfield, MA 01301 ($22.50, plus shipping. Discount on quantity orders). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Classroom Communication; Classroom Environment; *Classroom Techniques; Conflict Resolution; *Discipline; Elementary Education; Language; Peer Relationship; Problem Solving; *Prosocial Behavior; *Self Control; Teacher Student Relationship; Timeout; *Values; *Values Education IDENTIFIERS Classroom Thoughtfulness; School Rules ABSTRACT This book is about managing a responsive classroom and teaching children to care. The aim of every chapter and technique is the creation of self-controls and community, defined as the capacity to care about oneself, others, and the world. The 16 chapter topics are:(1) goals of self-control and community;(2) techniques of the first 6 weeks of school and their extension through the rest of the year;(3) basic classroom rules and how children can be involved in their creation;(4) a system of logical consequences for children's actions;(5) problem-solving class meetings; (6) a time-out procedure;(7) approaches to children who engage in power struggles;(8) ways to approach problem-solving with individuals
    [Show full text]
  • The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture
    The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture By Åsa Alftberg & Peter Bengtsen Abstract The connection between neuroscience, popular media and lay perceptions of the brain involves the framing of complex scientific processes and results through familiar cultural narratives and metaphors. Such narratives are often built on the premise that neuroscience, with the help of powerful new technologies, will finally solve the mysteries of brain and mind, consciousness and morality. At the same time, popular culture—especially the science fiction genre—tends to focus on worst case scenarios of the implementation of technology. This article explores cultural narratives of what the brain is and how it functions in two different contexts—among neuroscientists and within popular culture. In particular, narratives about technology and the malleable brain as well as the notion of the mad scientist are studied. The article explores how these narratives are presented and used in popular culture and how neuroscientists relate to the narratives when describing their work. There is a contrast, but also a blurring of boundaries, between actual research carried out and the fictional portrayals of scientists constructing, or altering, fully functional brains. To some extent, the narratives serve as a background for the public’s understanding of, and attitude towards, neuroscience—something that must be taken into consideration when dealing with the therapeutic treatment of patients. The narratives of neuroscience in popular culture are to a certain degree shaped by actual scientific practices and findings, but neuroscience is also influenced by laypeople’s perceptions, which often have their roots in the narratives of popular culture.
    [Show full text]