Thanksgiving: Fact Or Fiction
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Black Tie by Ar Gurney
Black Tie.qxd 5/16/2011 2:36 PM Page i BLACK TIE BY A.R. GURNEY ★ ★ DRAMATISTS PLAY SERVICE INC. Black Tie.qxd 5/16/2011 2:36 PM Page 2 BLACK TIE Copyright © 2011, A.R. Gurney All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of BLACK TIE is subject to payment of a royalty. It is fully protected under the copy- right laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copy- right relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, tel- evision, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval sys- tems, photocopying, and the rights of translation into foreign languages are strict- ly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for BLACK TIE are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
Style Guide 2020
STYLE GUIDE 2020 1 Cunard and Royal Ascot share a Royal Ascot is synonymous passion for unforgettable moments with sartorial elegance. that exude style. This is upheld by its Dress Code, which guests are invited to embrace with their own individual style and thus contribute to an occasion heralded internationally as a major fashion event. To advise and Sail with Cunard to be welcomed into a world of unique experiences – a world away from anything else inspire guests with what to wear to the Royal Meeting this June, we have partnered with Cunard - for at sea. Bask in the peace and tranquillity aboard our fleet; Queen Victoria, Queen Elizabeth and Queen the third year - to bring you the Royal Ascot Style Guide 2020. Mary 2, as you drift between towering Norwegian Fjords, catch first sight of sparkling Alaskan glaciers The Royal Ascot Dress Code is traditional, woven into the very fabric of our history. It was Beau or feel the breeze under a mid-Atlantic sky heading for New York on our iconic Transatlantic Crossing. Brummell, perhaps Britain’s first fashion icon, who at the turn of the 19th century dictated the dress for When not exploring new shores, the Cunard on board experience is built on fine dining, hand selected men in the Royal Enclosure. His sense of style is still reflected in Royal Ascot fashions today. entertainment and outstanding service. From the sophistication of a masquerade ball to the intimacy of Ascot continues to recognise key trends in the ever-evolving world of fashion and in 2020, the Royal a shared moment on deck, the stage is set for you to create your own memories at sea. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard It Was Fascination If one happened to miss the Kentucky Derby or the Preakness, he or she can still view the third and final leg of the Triple Crown, the Belmont Stakes, on June 11, 2011. For the Anglophile, however, there’s always the Ascot Racecourse (located in the small town of Ascot, Berkshire). This course is approximately six miles from Windsor Castle, and owned by the Crown Estate. Royal Ascot, one of Europe's most famous race meetings (founded by Queen Anne in 1711), will be held on Tuesday, June 14, 2011, to Saturday, June 18, the highlight being the Ascot Gold Cup. Every year Royal Ascot is attended by Her Majesty, Elizabeth II, and various members of the British Royal Family, arriving at the start of each race day in a horse-drawn carriage with a Royal procession. It is a major event in the British social calendar, and press coverage of what the attendees are wearing often eclipses coverage of the actual horse racing. If one is special, he or she may be invited to the Royal Enclosure. But there are rules that must be obeyed. The official “Royal Ascot” website spells out the dress code: “Off the shoulder, halter neck, spaghetti straps and dresses with a strap of less than one inch and miniskirts are considered unsuitable. Midriffs must be covered and trouser suits must be full length and of matching material and colour.” “Gentlemen are required to wear either black or grey morning dress, including a waistcoat, with a top hat. -
Drag Performance and Femininity: Redefining Drag Culture Through Identity Performance of Transgender Women Drag Queens
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2017 Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy Dougherty Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Women's Studies Commons Recommended Citation Dougherty, C. (2017). Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/730/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens By Cristy A. Dougherty A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Communication Studies Minnesota State University, Mankato Mankato, Minnesota July 2017 Title: Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy A. -
University of Birmingham the Victorian Fancy Dress Ball, 1870
University of Birmingham The Victorian Fancy Dress Ball, 1870-1900 Mitchell, Rebecca DOI: 10.1080/1362704X.2016.1172817 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Mitchell, R 2016, 'The Victorian Fancy Dress Ball, 1870-1900', Fashion Theory. https://doi.org/10.1080/1362704X.2016.1172817 Link to publication on Research at Birmingham portal Publisher Rights Statement: Eligibility for repository: Checked on 8/3/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. -
Cross-Dressing, Theater, and “In-Betweens” in Early
SHE AS HE: CROSS-DRESSING, THEATER, AND “IN-BETWEENS” IN EARLY MODERN SPAIN By Rosie Seagraves Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILSOSOPHY in Spanish August, 2013 Nashville, Tennessee Approved: Professor Edward H. Friedman Professor Andrés Zamora Professor Benigno Trigo Professor Earl E. Fitz Copyright © 2013 by Rosie Seagraves All Rights Reserved To my parents. iii iv ACKNOWLEDGEMENTS This work would not have been possible without the financial support of Vanderbilt University’s Robert Penn Warren Center for the Humanities Joe and Mary Harper Fellowship for the 2012-2013 academic year. I am also grateful for the financial support provided by the College of Arts & Sciences Summer Research Award, the Vanderbilt Dissertation Enhancement Grant, and the NeMLA Summer Fellowship. These grants allowed me to conduct archival research at the Centro de Documentación Teatral and the Archivo Histórico Nacional in Madrid, Spain during the summer of 2012 in preparation for this project. The support from my committee has been fundamental to my completion of the dissertation. In addition to their continued support, I am grateful specifically for Dr. Benigno Trigo’s thoughtful feedback during an early conversation about the direction of the project as well as Dr. Andrés Zamora’s addition of the “bearded lady” portrait tradition to the conversation. Professor Earl Fitz’s insights about self-reference also helped me to refine my focus early on. I simply cannot thank my advisor, Dr. Edward Friedman, enough. For the rest of my career, “What would Friedman do?” will be my guide. -
Suit up Lead on Look Book
Suit Up - Lead On Look Book Neeley students have numerous opportunities to demonstrate their emerging professionalism through class presentations, networking events, career fairs, and interviews for internships and jobs. Wearing professional business attire allows students to "look the part". This look book is designed to provide some guidance. Black, Charcoal or Navy is ideal for an initial suit. These colors are dominant in the professional realm due to their style versatility. White is the best color for shirts and blouses. While other colors and patterns may work well with business suits, consider building a white shirt collection first. BLAZER AND BLOUSE Ensure your blouse complements the blazer. Avoid blouses that are too sheer or revealing. They should be modest enough to remove your blazer if that becomes necessary. Fabric: Blended fabrics (e.g., a combination of polyester, rayon, etc.) are most common and recommended for the suit. Blended fabrics (e.g., polyester, silk, rayon) are common for blouses. Avoid lace, mesh and other design details that may be too distracting. Fit: Ensure the blazer is tailored. Blouses may be button-up or v-neck, simply ensure it is modest. SKIRT | DRESS | SHOES Fabric: The fabric of the dress and skirt should ideally match or compliment that of the blazer. Fit: The skirt and dress should be knee length. Your dress and skirt should not be too form fitting or tight. Pants should be ankle length. Always wear hosiery and close-toed basic solid black shoes with heels no higher than 3 inches THE MEN'S SUIT Fabric: Wool is the go-to fabric because it breathes easily, dyes easily, is durable, highly water-resistant and resists wrinkling. -
Uniform Regulations, Comdtinst M1020.6K
Commander US Coast Guard Stop 7200 United States Coast Guard 2703 Martin Luther King Jr Ave SE Personnel Service Center Washington DC 20593-7200 Staff Symbol: PSC-PSD (mu) Phone: (202) 795-6659 COMDTINST M1020.6K 7 JUL 2020 COMMANDANT INSTRUCTION M1020.6K Subj: UNIFORM REGULATIONS Ref: (a) Coast Guard External Affairs Manual, COMDTINST M5700.13 (series) (b) U. S. Coast Guard Personal Property Management Manual, COMDTINST M4500.5 (series) (c) Military Separations, COMDTINST M1000.4 (series) (d) Tattoo, Body Marking, Body Piercing, and Mutilation Policy, COMDTINST 1000.1 (series) (e) Coast Guard Pay Manual, COMDTINST M7220.29 (series) (f) Military Qualifications and Insignia, COMDTINST M1200.1 (series) (g) Coast Guard Military Medals and Awards Manual, COMDTINST M1650.25 (series) (h)Financial Resource Management Manual (FRMM), COMDTINST M7100.3 (series) (i) Rescue and Survival Systems Manual, COMDTINST M10470.10 (series) (j) Coast Guard Aviation Life Support Equipment (ALSE) Manual, COMDTINST M13520.1 (series) (k) Coast Guard Air Operations Manual, COMDTINST M3710.1 (series) (l) Coast Guard Helicopter Rescue Swimmer Manual, COMDTINST M3710.4 (series) (m) U. S. Coast Guard Maritime Law Enforcement Manual (MLEM), COMDTINST M16247.1 (series) (FOUO) [To obtain a copy of this reference contact Commandant (CG-MLE) at (202) 372-2164.] (n) Coast Guard Medical Manual, COMDTINST M6000.1 (series) (o) Standards For Coast Guard Personnel Wearing the Navy Working Uniform (NWU), COMDTINST 1020.10 (series) 1. PURPOSE. This Manual establishes the authority, policies, procedures, and standards governing the uniform, appearance, and grooming of all Coast Guard personnel Active, Reserve, Retired, Auxiliary and other service members assigned to duty with the Coast Guard. -
Smart Casual Dress Code Page 11 Black Tie Dress Code This Dress Code, Combining Sportiness with Page 23 Easy Elegance, Offers Plenty of Scope for Choice
Impeccable style for your day-to-day life BLACKSOCKS explains the most important dress codes. Not Just a Question of Taste Dress codes are a science all of their own. Categories range from casual to informal, formal, very formal and even highly official and ceremonial. It is important to choose the right clothing for your event, circumstances, age and shape. Contrasts (black and white) generally have a more professional look than tone-in-tone combinations. It is always worth avoiding style slip-ups, whether in your pro- fessional or private life. Ties with cartoon characters, childish ba- tik patterns, and oversized company logos have no place in the business world. Cloth- ing should not be too tight, too baggy, or too old-fashioned. Other taboos include visible bare calves, white socks, brown shoes with a black suit, or braces at an evening gala. 2 Fine underwear for first-class men. www.blacksocks.com 3 Casual Dress Code Business Attire Dress Code Page 7 Page 19 Casual means leisure wear – not to be con- Business environments demand a serious fused with the well-known ‘baggy’ look. and elegant appearance. Put on a dark Outfits might include a shirt or polo shirt single-breasted or double-breasted suit, with jeans or chinos. You can definitely a plain shirt, a tie and socks in a matching leave your tie in the wardrobe. color. Only take your jacket off if it gets hot. Bare skin showing between your socks and the bottom of your trousers when you sit down is also a definite faux pas. -
RECONCEIVING CROSS-DRESSING: Transphobia and Support for MTF Transgender People Socialising in Manchester’S Gay Village
RECONCEIVING CROSS-DRESSING: Transphobia and Support for MTF Transgender People Socialising in Manchester’s Gay Village By Lee Robert Jack Middlehurst Ph.D. Sociology and Criminology Manchester Metropolitan University 2013 ABSTRACT This thesis presents investigations of Male-To-Female (MTF) transgender people, mostly those who are cross-dressers/transvestites, socialising in Manchester’s Gay Village. A systematic review of the academic literature related to transgender issues indicates that no previous extensive research has been presented which analyses contemporary gender divergent (trans*) people in Manchester. The incomplete academic knowledge on current transgenderism, particularly transvestic identities, has been recognised by representatives of the Equality and Human Rights Commission and the UK Government Home Office. These deficient understandings comprise transphobic discriminations. Therefore, this thesis enhances academic information of contemporary transgenderism. This thesis includes findings and developed theories, deriving from aspects of Grounded Theory and Template Analysis, which reflect the deconstructive methodologies developed in postmodern theory. Postmodernism rejects the ‘grand narratives' of truth and science, with a greater emphasis upon the lived experience and expertise of those studied. The investigations undertaken for this study include a reflective/reflexive ethnographic analysis of the assistance to trans* people in Manchester by individuals and support organisations. Thirty-seven interviews with key informants were conducted. This thesis also deploys digital ethnography to examine Internet trans* supportive discourses, which either relate to or emerge from social circles linked to the Gay Village. Additionally, related quantitative information concerning trans* matters is re-presented which is drawn from 390,227 international online data inputs. Moreover, this study documents the annual transgender Sparkle celebrations in Manchester from 2005 to 2012, which attracts thousands of MTF transgender people (trans* women). -
Fashion Appropriate for Most Special Occasions
styleBOOK BY STARR KONDOS Summer weddings, as you all know, are one of the areas of confusion for dress codes since there are so many wedding options. For the perfect attire let’s look at some of the interpretations of what each dress code means. BLACK TIE A black tie invitation calls for formal attire. For women, long dresses, cocktail, and evening separates are totally acceptable for black tie functions. BLACK TIE OPTIONAL You have the option to wear a formal long dress, but you can also wear short cocktail or dressy evening separates. CREATIVE BLACK TIE Creative black tie is a trendier interpretation of for- mal wear. In many cases, it could be a theme party which leaves room for a more fun way of dressing. RESORT FORMAL Resort formal usually refers to warm weather events, like a beach wedding, for example. Wear something bright, light weight, or floral. SEMI-FORMAL No long dresses here. For an after 6 p.m. event, a cocktail dress is perfect. For daytime, semi-formal PHOTO: JIM PRISCHING events a short dress or dressy suit will do. COCKTAIL ATTIRE Wear a short, elegant dress. The little black dress is a must-have in every woman’s wardrobe and Fashion appropriate for most special occasions. DRESSY CASUAL This is a version of a dressier casual look. Jeans shorts TALK and T-shirts are not appropriate for dressy casual. UNDERSTANDING DREss CODES CASUAL Casual implies anything goes, including jeans T- HIS TIME OF THE YEAR I receive so many phone calls with questions regarding the dress shirts and shorts. -
The Image of Your Imagination
THE IMAGE OF YOUR IMAGINATION REDISCOVERING DRAG, RECONSTRUCTING GENDER Otto Lehtonen Master’s Thesis Art History School of History, Culture and Arts Studies Faculty of Humanities University of Turku April 2019 The originality of this thesis has been checked in accordance with the University of Turku quality assurance system using the Turnitin OriginalityCheck service. UNIVERSITY OF TURKU School of History, Culture and Arts Studies / Faculty of Humanities LEHTONEN, OTTO: The Image of Your Imagination: Rediscovering Drag, Reconstructing Gender Master’s Thesis, 77 pp., Appendix 6 pp. Art History April 2019 ---------------------------------------------------------------------------------------------------------- In this thesis, I examine prevalent definitions of drag. I analyze the notion of drag as gender performance and consider key questions regarding drag as an artistic practice and medium: drag as a form of cross-dressing; drag’s subject matter; the similarities and differences between drag and fe/male impersonation; and drag’s relation to gender, par- ticularly nonbinary genders and cis-heteronormative gender ontology. I examine how the purported reality of binary gender and sexual dimorphism is apparent in and shapes un- derstandings of drag. My key sources include Esther Newton’s anthropological study of American drag queens in the late 1960s, Jack Halberstam’s writing on drag king culture, and Judith Butler’s theorization of gender and drag. Following these arguments, I examine two instances of contemporary art and fashion— Finnish artist Artor Jesus Inkerö’s (b. 1989) holistic bodily project and Palomo Spain’s gender nonnormative fashion—and how interpretations of them pertain to similar ques- tions of gender and sex as definitions of drag. I propose the term ‘areal’ to reflect how the existence of nonbinary genders is subordinate to the reality of the supposedly original and authentic binary genders.