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Rupaul's Drag Race
HALLELOO! “RUPAUL’S DRAG RACE” RETURNS TO LOGO FOR A NEW SEASON OF OUTRAGEOUS REALITY COMPETITION IN JANUARY 2012 The Nation’s Most Elite Drag Performers Compete for $100,000 Cash and the Title of “America’s Next Drag Superstar” To Tweet This Release: http://logo.to/s6k7Wu NEW YORK - November 14, 2011 – RuPaul and Logo are prepping an all-new squad of 13 lucky contestants who will vie for the crown, an unprecedented $100,000 cash prize and the coveted title of “America's Next Drag Superstar.” Logo’s smash-hit reality competition show “RuPaul’s Drag Race” returns January 2012. Over three trail-blazing seasons, “RuPaul’s Drag Race” has taken the country by storm, evolving from a cult hit to a certified pop culture phenomenon. With a devoted and diverse following ranging from soccer moms to Hollywood royalty, “RuPaul’s Drag Race” has become appointment television for viewers who can’t get enough of the outlandish fun, drama, “eleganza” and most of all, heart that comes with the show. "We challenged ourselves to make TV's most outrageous show even more outrageous,” said Executive Producer, RuPaul. “And I'm happy to report we've succeeded." This season, a new crop of top-tier drag hopefuls are strapping on their helmets and revving their engines for the most competitive drag race and biggest grand prize yet. The following are the 13 season four “RuPaul’s Drag Race” contestants: · Alisa Summers Tampa, FL #DragRaceAlisaSummers, @alisasummers · Chad Michaels San Diego, CA #DragRaceChadMichaels, @chadmichaels1 · Dida Ritz Chicago, IL #DragRaceDidaRitz, @HelloDiDa · Jiggly Caliente Queens, NY #DragRaceJigglyCaliente, @JigglyCaliente · Kenya Michaels Dorado, Puerto Rico #DragRaceKenyaMichaels, @Kenya_Michaels · Lashauwn Beyond Tampa, FL #DragRaceLashauwnBeyond, @LashauwnBeyond · Latrice Royale Ft. -
A Killjoy's Introduction to Religion
Buzzsprout MY PODCASTS MY PROFILE HELP LOG OUT Keeping It 101: A Killjoy's Introduction to Religion Episodes Players Website Directories Resources Podcast Settings Stats Back to Episode Transcript Export Done, Back to Episode Episode: Extracurriculars: Ru-ligion Ru-vealed! the T on Religion & Drag Race Last Saved 14 minutes ago. Ilyse Keeping It 101: A Killjoy's Introd… This is Keeping it 101, a killjoy's introduction to religion podcast. Extracurriculars: Ru-ligion Ru-vealed! the T on Religion & Drag Race Megan What's up nerds? Share Info 00:00 | 59:11 Ilyse Hi. Hello. I'm Ilyse Morgenstein Fuerst a professional and professorial killjoy living, Speakers working, and raising killjoys on the traditional and ancestral lands of the Abenaki Ilyse people. I'm a scholar of Islam, imperialism, racial ization of Muslims and the history of Megan religion Located at the University of Vermont. RPDR Megan Simpsons Hi. Hello. I'm Megan Goodwin, the other unapologetic feminist killjoy on keeping at ADD SPEAKER 101 Broadcasting. Get it From the Land of the Wabenaki Confederacy, the Abenaki and the Aucocisco Peoples. I'm a scholar of gender, sexuality, white supremacy, minority religions, politics and America, located at Northeastern University--slash currently, my couch--and I coordinate Sacred Writes, public scholarship on religion, a Luce funded project that helps scholars and nerds like yourself share their expertise with folks who don't talk and study and think about religion all the time. Megan Hey, it's an extracurricular episode. Schools fun and all, but it's after school when the magic of learning really happens. -
Are They Family?: Queer Parents and Queer Pasts In
ARE THEY FAMILY?: QUEER PARENTS AND QUEER PASTS IN CONTEMPORARY AMERICAN CULTURE BY MICHAEL SHETINA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2019 Urbana, Illinois Doctoral Committee: Associate Professor Siobhan Somerville, Chair Professor Chantal Nadeau Associate Professor Julie Turnock Associate Professor Richard T. Rodríguez, University of California, Riverside ABSTRACT The early twenty-first century saw a marked increase in depictions of LGBTQ people and communities in American popular culture occurring alongside political activism that culminated in the repeal of the Pentagon's Don't Ask, Don't Tell policy (2010) and the Supreme Court's overturning of same-sex marriage bans in Obergefell v. Hodges (2015). Even as these events fueled a triumphant progressive narrative in which social and political representation moved LGBTQ people into a better future, a significant strain of LGBTQ-focused popular culture drew its attention to the past. My dissertation, Are They Family?: Queer Parents and Queer Pasts in Popular Culture, examines how American film, television, and literature between 2005 and 2016 construct relationships among LGBTQ people across recent history in generational and familial terms. These works queer the concept of the family by deploying parents and parental figures to examine the role of families in the transmission of queer knowledges, practices, and identities, countering notions of families as mere precursors to queer identity—“families of origin”—or as the agential creations of out LGBTQ people—“families of choice.” These works demonstrate how such dichotomous conceptions of family limit the people, experiences, and forms of affect that are legible within the category of LGBTQ history. -
“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. -
Rupaul's Drag Race from Screens To
‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada January 2020 Ó Max Mehran, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Max Mehran Entitled: ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ________________________________ Chair Luca Caminati ________________________________Examiner Haidee Wasson ________________________________Examiner Glyn Davis ________________________________Supervisor Kay Dickinson Approved by ________________________ Graduate Program Director Luca Caminati ________________________ Dean of Faculty Rebecca Duclos Date: January 20th, 2020 iii ABSTRACT ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran Since its inception, RuPaul’s Drag Race (Drag Race) (2009-) has pitted drag queens against each other in a series of challenges testing acting, singing, and sewing skills. Drag Race continues to become more profitable and successful by the year and arguably shapes cultural ideas of queer performances in manifold ways. This project investigates the impacts of exploitative labour practices that emerge from the show, the commodification of drag when represented on screen, and how the show influences drag and queer performances off screen. -
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. -
The Best Drag Shows and Events in London GO LONDON
10/22/2019 The best drag shows and events in London | London Evening Standard GO LONDON Going Out in London Discover LONDON'S BEST DRAG CLUBS AND NIGHTS 11 SHOW ALL ARTS The best drag shows and events in London ZOE PASKETT Thursday 10 October 2019 15:00 Click to follow Like GO London GO LONDON newsletter Enter your email address Continue Register with your social account or click here to log in London’s drag scene has been constantly evolving for decades, moving from the underground clubs into mainstream popular culture. Now, you can see a some of the UK's queens on national television, but nothing beats a live show. https://www.standard.co.uk/go/london/arts/the-best-drag-shows-and-events-in-london-a3813621.html 1/9 10/22/2019 The best drag shows and events in London | London Evening Standard It’s impossible to ignore that many of our beloved queer spaces are closing – take Madame Jojo’s, the Joiners ArmGs aOnd L thOe BNlacDk OCaNp as a few – but if we know anything about London’s LGBTQ+ community, it’s that we’re a resilient bunch. Never fear, there will always be somewhere to let your freak flag fly. We’ve picked some of our favourite clubs, bars and nights to find drag in London. The Glory Absolutely glorious: The Glory's Lip Sync 1000 competition is famous Where else to start but the Glory? The Haggerston pub is certainly not the oldest, but has made a massive impact due to the sheer volume of drag events. -
Untucked and Unzipped : Interviews and Recaps of Rupauls Drag Race Pdf, Epub, Ebook
UNTUCKED AND UNZIPPED : INTERVIEWS AND RECAPS OF RUPAULS DRAG RACE PDF, EPUB, EBOOK B Michael Peterson | 96 pages | 29 Aug 2013 | Createspace Independent Publishing Platform | 9781492190851 | English | none Untucked and Unzipped : Interviews and Recaps of Rupauls Drag Race PDF Book Oops Looks like your browser doesn't support JavaScript. Reply Retweet Favorite. This queen stands out. Drag Race is famous for hilariously torturing its queens in the opener, from photoshoots in tornado-like wind tunnels to fighting in dumpsters for garment scraps from which to build their first runway look. From her first look representing her hometown to her Maria Felix tribute look in Episode 5, Valentina showed that she was unafraid to draw inspiration from deep cuts in vintage Latin-American culture. Tayce expresses that she hopes to be that representation for queer Black kids watching the show now. Anuj Agarwal Feedspot has a team of over 25 experts whose goal is to rank blogs, podcasts and youtube channels in several niche categories. The A. Peterson , Michelle Kutzler. There is a second Robin Hood lewk on the runway by A'Whora. If you continue to use this site we will assume that you are happy with it. Other lip-syncs seemed impossible to win, as in the case of Tina Burner, who is royalty in the New York drag scene and proved why by easily outstripping her competitors. Tom the Psychiatrist. From the moment the first queen walks into the Werk Room, we feel instantly taken care of. Drag Race has also often failed to represent Latinx culture beyond stereotypes and caricature. -
Light Shines Earnest, a Full Length Play by William James Burke And
DePauw University Scholarly and Creative Work from DePauw University Student research Student Work 4-2017 Light Shines Earnest, a full length play by William James Burke and Divergent Drag Aesthetics — Interrogating the Reaches of Gender and Gendered Imagery in Drag Performance William James Burke DePauw University Follow this and additional works at: http://scholarship.depauw.edu/studentresearch Part of the Theatre and Performance Studies Commons Recommended Citation Burke, William James, "Light Shines Earnest, a full length play by William James Burke and Divergent Drag Aesthetics — Interrogating the Reaches of Gender and Gendered Imagery in Drag Performance" (2017). Student research. 64. http://scholarship.depauw.edu/studentresearch/64 This Thesis is brought to you for free and open access by the Student Work at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Student research by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. William James Burke Honor Scholar Program Senior Project, 2017 Light Shines Earnest, a full length play by William James Burke and Divergent Drag Aesthetics — Interrogating the Reaches of Gender and Gendered Imagery in Drag Performance Sponsor: Steve Timm Committee: Meryl Altman, CJ Gomulka, Susan Anthony Acknowledgements Sincere and Abounding Gratitude To Steve Timm Meryl Altman CJ Gomulka Susan Anthony Kevin Moore Amy Welch Andrew Smith Ray DuBois Hannah Joy Gauthier Sarah Pistorius Eleanor Price Zachary Jacobs Saige Trottman-Huiet Angela Flurry Franki Abraham Jeremy Boyd Without whom this project and all of its accompanying parts would not be possible. Note Bound here are two portions of one project: Light Shines Earnest, a full length play, and “Divergent Drag Aesthetics—Interrogating the Reaches of Gender and Gendered Imagery in Drag Performance,” an accompanying research component. -
Emotion, Femininity and Everyday Experience
Emotion, Femininity and Everyday Experience Straight Female Audience’s Perception of RuPaul’s Drag Race Student name: Yoshino Akizuki Student number: 509330 Supervisor: Balázs Boross Master Arts, Culture and Society Erasmus School of History, Culture and Communication Erasmus University Rotterdam Master Thesis June 14, 2019 ABSTRACT An American reality TV program RuPaul’s Drag Race, in which drag queens compete with each other to be “America’s Next Drag Superstar,” has earned tremendous hit since it was first broadcast in 2009. Although Drag Race started as a niche program featuring drag queens and targeted only at the LGBTQ community, it is becoming a world-wide phenomenon in mainstream popular culture. Especially, straight female audiences have become a large percentage of the audience. However, why are straight women, who have not necessarily had a connection with drag culture, enthusiastic about Drag Race? Previous research on Drag Race are mainly textual analysis addressing particular issues such as race and ethnicity, social class, body shape and femininity (Darnell and Tabatabai, 2017; Edgar, 2011; Goldmark, 2015; LeMaster, 2015; Strings & Bui, 2014; Vesey, 2017). However, they lack the perspective of actual audience. And therefore, they do not explain the popularity among straight female audience. Since the audience of Drag Race has become increasingly diverse, different audiences interpret the contents differently. As Alasuutari (1999) explains using Stuart Hall’s encoding/decoding model, intended message from producers is not always received “correctly” by audiences. Therefore, it is significant to take into account the perspective of the audience. Furthermore, as Bird (2003) suggests audiences critically and actively interpret the message and put them in the context of everyday experience, we should closely examine the process of meaning-making. -
Rupaul's Drag Race Experience from the Minute You Walk Through the Doors
“RUPAUL’S DRAG RACE” FAN FAVORITES TO HIT THE ROAD FOR LARGEST “BATTLE OF THE SEASONS” TOUR YET, TRAVELING TO 57 GLOBAL MARKETS 2016 “EXTRAVAGANZA TOUR” TICKET INFO NOW AVAILABLE ONLINE AT RUPAULBOTS.COM New York, NY, (January 25, 2016) – Producer Entertainment Group and Sidecar Management, in conjunction with World of Wonder and Logo TV, are announcing the return of the world’s biggest touring drag revue, based on international megahit TV franchise “RuPaul’s Drag Race” (RPDR). Ticket information for the 58date “RuPaul’s Drag Race Battle of the Seasons: 2016 Extravaganza Tour” is available now at www.RuPaulBOTS.com. The “Battle of the Seasons” tour, now in its third consecutive year of growth, will again be hosted by series judge Michelle Visage and includes an allstar cast of past winners, runners up and fan favorites from each season of RPDR, including: Adore Delano, Alaska Thunderfuck, BenDeLaCreme, Courtney Act, Ginger Minj, Ivy Winters, Jinkx Monsoon, Katya, Manila Luzon, Miss Fame, Pandora Boxx, Phi Phi O’hara, Sharon Needles, Violet Chachki and Willam to name a few. (Lineup varies by city and is subject to change. Check local listings for expected performers.) In addition, select cities will feature an opening DJ set by Pearl. “Last year the world got merely a taste of RuPaul's queens with the first global Battle of the Seasons Tour,” said Michelle Visage, host of the “Battle of the Seasons” tour and permanent judge on RuPaul’s Drag Race. “This year we are back, and these bitches are bigger and badder than before! Get ready for the ULTIMATE RuPaul's Drag Race experience from the minute you walk through the doors. -
An In-Depth Analysis of Inherent Racism
Running head: CRITICISMS OF NORMALIZED MARKETING STRATEGIES Criticisms of Normalized Marketing Strategies: An In-Depth Analysis of Inherent Racism and Gender Conformity in the World of RuPaul’s Drag Race By: Jeremy Houston A Major Research Paper presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Professional Communication Supervisor: Dr. Marty Fink CRITICISMS OF NORMALIZED MARKETING STRATEGIES Author’s Declaration for Electronic Submission of a Major Research Paper I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. 2 CRITICISMS OF NORMALIZED MARKETING STRATEGIES Abstract This paper showcases how inherent racism and gender conformity are enforced by the RuPaul’s Drag Race franchise via promotional material, episode content, types of queens featured and judges’ commentary between the first and ninth season of the television series. The research aims to understand how the shift from a once LGBTQ+ specific market to a mainstream audience has further perpetuated the idealized forms of beauty and femininity. The content analysis of the first and ninth season showcases how RPDR is seeking to fit a pre-constructed stereotype created by the ‘imagined’ heteronormative/cisgender audience since becoming mainstream.