ROBERT JOSEPH CONNELLY Ing Nicely
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Humanities Research Journal Series: No. 3. 1998
EDITOR: Benjamin Penny W. J. F. Jenner, Australian National University EDITORIAL ASSISTANT: Misty Cook Peter Jones, University of COMMISSIONING EDITOR: John Docker Edinburgh EDITORIAL COMMITTEE: Graeme Clarke, E. Ann Kaplan, State University of lain McCalman, Tessa Morris-Suzuki, New York at Stony Brook Fiona Paisley, Nicholas Thomas. Joan Kerr, Australian National EDITORIAL ADVISORS: University Tony Bennett, Griffith University Dominick LaCapra, Cornell University Dipesh Chakrabarty, University of David MacDougall, Australian National Chicago University James K. Chandler, University of Chicago Fergus Millar, University of Oxford W. Robert Connor, National Humanities Anthony Milner, Australian National Center University Saul Dubow, University of Sussex Meaghan Morris, ARC Senior Fellow, Valerie I. J. Flint, University of Hull University of Technology Margaret R. Higonnet, University of Sydney Connecticut Martha Nussbaum, University of Caroline Humphrey, University of Chicago Cambridge Paul Patton, University of Sydney Lynn Hunt, University of Pennsylvania James Walter, Griffith University MaryJacobus, Cornell University lain Wright, Australian National University Cover illustration: Publicity photograph of Ruth Budd in her white union suit, circa 1916. Courtesy of the Allen County-Fort Wayne Historical Society. ISSN: 1440-0669 IEVLAIR S CONTENTS Alison Kibler The upside down lady 3 Elizabeth Furniss Cultural performance as strategic essentialism: negotiating Indianness in a western Canadian rodeo festival 23 Christopher Balme Hula and haka: performance, metonymy and identity formation in colonial Hawaii and New Zealand New CCR staff 59 New HRC visitors 62 CCR activities 64 HRC activities 67 Other forthcoming conferences 69 From the desk of the Librarian 7o Recent publications from HRC conferences 73 ALISON KIBLER 3 THE UPSIDE DOWN LADY As her body rolled over and oven the effect was saved from monotony only because the crowd counted the turns .. -
Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
KV19 M Floor Final2 Kopie
Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf September 1 – November 24, 2019 Opening: Saturday, August 31, 2019 List of Works 12 11 11 10 10 20 20 9 13 12 18 17 16 17 21 8 17 10 14 15 19 22 3 2 1 6 3 4 5 7 bar staircase 1 Henrik Olesen 2 Sister Corita Kent Hysterical Men 1, 2013, canvas, inkjet print on proof paper ZP Wet and wild, 1967, Silkscreen on paper, 49x61,5 cm, Private 55 (newspaper), 55 gouache/m2, Amsterdam gel medium matt collection glue, 215x1000 cm, Courtesy Galerie Buchholz, Berlin, Cologne, Makes Meatbal sing (a song about the greatness), 1964, New York Silkscreen on paper, 75,6x91,4 cm, Private collection Henrik Olesen sends the visitor on a walk as well. Another picture, At first, the work Wet & Wild conjures images of aroused female a detail reminding of something else, one relates it perhaps to the bodies. Yet often in the work of the nun, activist, and artist Sister previous picture and continues on. One could wander into dark Corita Kent, she appropriates, enlarges, and distorts details from thoughts – after all, several of the people are dead or jailed – but advertisements in order to draw attention to social problems like precisely this is not Henrik Olesen’s intention, and so he suggests, sexism, racism, war, and the commercialization of postwar US at least in thought, to free the pictures from prison by walking on culture. In so doing, she combines the visual language of protest one’s head for a time. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOORAY FOR HOLLYWOOD: GENDER AND SEXUAL NON-CONFORMITY LN THE CLASSICAL HOLLYWOOD ERA by Brett Leslie Abrams submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy [Education] in History i I Chair:lir: / a . -
Neil's New Finding
Neil Richards Finding Aid University of Saskatchewan Archives MG 355 Neil Richards fonds. -- 1896-2000. -- .7 m of textual material. Historical note Born and educated in Ontario, but based in Saskatchewan since 1971, Neil Richards (1949 - ) has been an active participant in local, provincial and national gay organizations since the early 1970s. His activist work included participation in the Committee to Defend Doug Wilson in 1975, the organization of the 1976 convention of the National Gay Rights Coalition in Saskatoon, and many of the earliest AIDS awareness efforts in Saskatchewan. In conjunction with his work at the University of Saskatchewan Library, he produced many exhibitions and public events concerning AIDS and gay history and life. Scope and content note This collection dealing with the history of theatrical transvestism and gender impersonation was begun by Neil Richards during his research for the physical and digital exhibition All Frocked Up: Glimpses of Cross-Dressing in Saskatchewan (2003). To provide historical and international context to the images from Saskatchewan, Richards collected, principally through Ebay purchases, paper ephemera featuring female and male impersonators who had achieved fame on British music hall and American vaudeville stages during the first half of the 20th century. The collection contains material relating to the careers of Vesta Tilley; Julian Eltinge; John Graffton; Millie Gold; Hetty King; Danny Brown; Doc Benner; Danny LaRue; Charles Pierce; Jim Bailey; Rae Bourbon; Lynn Carter; Divine; Hinge and Bracket; Rex Jameson; T. C. Jones; Hector Nicol; Nellie Kolle; Grace Leonard; Dixie Norton; Claire Romaine; Ella Shields; Florenze Tempest; Bert Errol; William Lingard; Tom Martelle and Karyl Norman. -
Karyl Norman
Share Report Abuse Next Blog» Create Blog Sign In AAnn OOppeenn BBooookk Sunday, December 4, 2011 Followers King of Queens: Karyl Norman The Creole Fashion Plate: In the annals of vaudeville, one name stands alone: Karyl Norman. He, along with Francis Renault, and Julian Eltinge, were the reigning kings, or queens, if you will, of female impersonation. But while much has been written about Eltinge and other interpreters of drag, such as Bert Savoy, Tom Martelle, Jean Malin, Earl Lind and Ray Bourbon, little is known about Karyl Norman, who by all accounts was one of the most fascinating and glamorous of vaudeville's gender-bending vamps, the original voguin' vixen and one of the premier princesses of the so-called "Pansy Craze." Karyl Norman paved the way for countless female impersonators who came after him. He also wrote many of his own songs, which puts him in a different league than Eltinge and his peers who always used songs written by others. Karyl's legacy endures primarily due to his sheet music which shows up constantly on eBay, although many dealers are not aware that this stylish siren was in reality a man. Most accounts of Karyl Norman, I've found, are just plain wrong. His name is often misspelled, both his stage name and his birth name. I've seen mentions of him as "Norman Carroll," "Carl Newman," "Norman Thomas," and "Carole Norman." Writers have claimed his real name was George Paduzzi. The Cambridge Guide to Theatre says it was "Poduzzi." One account I read said that he was born in Australia; another that he was African-American and lived in Harlem. -
Maryland LGBTQ Historic Context Study Has Roots in an Earlier Project
Maryland LGBTQ Historic Context Study By Susan Ferentinos, PhD With Benjamin Egerman For Preservation Maryland and Maryland Historical Trust September 30, 2020 Table of Contents CHAPTER ONE: INTRODUCTION ............................................................................................................................. 2 PARAMETERS OF THIS STUDY ........................................................................................................................................... 4 METHODOLOGY ............................................................................................................................................................. 6 CHAPTER TWO: ISSUES TO BE AWARE OF WHEN APPROACHING LGBTQ HISTORIC PRESERVATION..................... 11 CHANGING LANGUAGE AND DEFINITIONS ......................................................................................................................... 13 LACK OF EVIDENCE ....................................................................................................................................................... 16 LACK OF INTEGRITY (OR EVEN SITES) ................................................................................................................................ 19 PRESERVATION OPTIONS BEYOND DESIGNATION ................................................................................................................ 23 PRESERVING SITES OF DIFFICULT HISTORY ........................................................................................................................ -
Variety and Vaudeville by Gillian Rodger
Variety and Vaudeville by Gillian Rodger Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com From the mid-nineteenth century onwards, a number of popular theatrical forms that included play on gender flourished in Britain, Europe, and the United States. The best known among these styles of theater, and the ones that flourished most in the United States, were minstrelsy, vaudeville (and its precursor, variety), and burlesque. All of these forms featured cross-dressed acts, as well as routines that challenged prevailing gender constructions. In addition, certain performance specialties featured in some of these theatrical forms were known to attract homosexual performers. One of the difficulties in discussing sexual orientation in reference to performers of this period, however, is that the identity "homosexual" was relatively new and may well have been rejected by those whom we would now identify with this term. On the other hand, there was a clear recognition by theater folks of this period that some performers were in same-sex or untraditional relationships. This recognition can be seen in snippets of gossip columns in theatrical newspapers that make oblique, usually snide, references to performers' private lives. Top to bottom: 1) Minstrel performers Many popular theater forms of the nineteenth century relied heavily on parody, Rollin Howard (in wench stereotype, and novelty. Cross-gender casting was one way in which serious drama or costume) and George opera could be parodied. In all-male minstrel companies, cross-dressing was a Griffin (ca 1855). 2) An advertisement for necessity if female characters were to be included. -
Special Argonaut Edition Journal of San Francisco Historical Society “Tell Me How a City Takes Its Pleasure and I Will Tell You the Character of Its People.”
SAN FRANCISCO at Play! Special ARGONAUT Edition JOURNAL OF SAN FRANCISCO HISTORICAL SOCIETY “Tell me how a city takes its pleasure and I will tell you the character of its people.” SAN FRANCISCO AT PLAY! Since the COVID-19 shutdown, San Franciscans have been deprived of one of our favorite activities—FUN around town. With restaurants, bars, nightclubs, and parks closed for the time being, we can only recall our favorite places and pastimes with a wistful smile and look forward to the eventual restoration of our city’s thriving social life. This Special Edition of The Argonaut takes a nostalgic look back in time at some of the unique, lively, sometimes bawdy, one-of-a-kind San Francisco experiences we once treasured with frequency and abandon—and, perhaps, took for granted. HERE ARE THE FEATURES YOU’LL FIND IN THIS ISSUE: • San Francisco’s Wonderous Drink, Pisco Punch by Paul Scholten – Vol. 8 No.2 (Fall 1997) This classic San Francisco cocktail, said to have been invented in the Bank Exchange Saloon, proves the truth of this old adage: “One is just right; two is too many; three is not enough.” • The Chutes: San Francisco’s Unique Destination for Amusement by John Freeman – Vol. 14. No. 2 (Winter 2003) Who knew gravity could be so fun? Find out why people once flocked to an unusual form of amusement in a neighborhood now called “the Haight.” • A Toast to Paoli’s by Deanna Paoli Gumina – Vol. 25 No. 2 (Winter 2014) Written by the daughter of Paoli’s founders, this article celebrates the iconic, elegant bar and supper club that once graced Montgomery Street and fed the city’s appetite for “continental cuisine.” Some recipes from Paoli’s menu are included. -
American Film Short Subjects and the Industry's
AMERICAN FILM SHORT SUBJECTS AND THE INDUSTRY’S TRANSITION TO SOUND Edwin M. Bradley Presented to the American Culture faculty of the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture November 12, 2001 TABLE OF CONTENTS Introduction: Shorts Shrift ................................................................2 Golden Silence................................................................................. 7 Beginnings ..................................................................................... 14 DeForest and Case.......................................................................... 20 The Warners Take a Chance ........................................................... 27 Jolson Sings (and Talks)..................................................................37 Sly Fox.............................................................................................44 The “Jazz Singer” and More ............................................................54 Voices Carry................................................................................... 58 Movietone on the March .................................................................70 Keeping U p ..................................................................................... 81 Giving ’Em What They Want .......................................................104 The Eyes of the Public .......................................... I ll Unequal Opportunity.....................................................................