November 30-December 6, 2018 / Vol. 41 / No. 2 / Laweekly.Com
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Trixie Mattel and Katya Dating
UNHhhh ep 5: "Dating PART 2" with Trixie Mattel & Katya Zamolodchikova. UNHhhh ep 4: "Dating" with Trixie Mattel & Katya Zamolodchikova. UNHhhh ep 3: "Traveling" w/ Trixie Mattel & Katya Zamolodchikova. UNHhhh ep 2: "RDR8 Cast Advice" w/ Trixie Mattel & Katya Zamolodchikova. 1 day ago · Trixie and Katya are back with new episodes of UNHhhh Season 5 and they've got the trailer to prove it. Here's everything you need to know about Trixie and Katya. Trixie Mattel is the stage name of Brian Firkus, a drag queen, performer, comedian and music artist best known as a Season 7 contestant of RuPaul's Drag Race and the winner of All Stars Following the success she got thanks to the show, Trixie started presenting a web show with Katya, entitled "UNHhhh", on the WOWPresents' YouTube renuzap.podarokideal.ru later starred on their new show entitled . Jul 15, · Katya: Paint on a different one! Trixie Mattel: This is a window for you, Carolyn, to become the new hot girl in the office right under everyone’s noses. Because you watched a few makeup. Mar 27, · Ever since Katya Zamolodchikova returned to Twitter, fans have been anxiously awaiting to see if the drag star would say anything about her friend and former co-star Trixie Mattel’s win on. Mar 24, · — Trixie Mattel (@trixiemattel) December 20, Trixie hasn’t revealed much about her boyfriend. She protects him from social media users as well. Trixie Mattel Net Worth and TV shows. The drag queen, Trixie Mattel has an estimated net worth of $2 million. Trixie started performing drag in the year at LaCage NiteClub. -
School Nixes Leasing Agreement with Township
25C The Lowell Volume IS, Issue 2 Serving Lowell Area Readers Since 1893 Wednesday, November 21, 1990 earns The Lowell Ledger's "First Buck Contest" turnout was a.m., bagged the buck at 7:45 a.m. better than voter turnout on election day. On Saturday, Vezino bagged a four-point buck with a Well, not quite, but 10 area hunters did walk through the bow. Ledger d(X)r between 7:30 a.m. and 12:30 p.m. on Wednes- Don Post. Ada. was along the Grand River on the flats, day. when he used one shot from his 16-gauge to drop a seven- The point sizes varied from four to eight-point. The weight point. 160-165 pound buck at 8 a.m. Post, hunting since of the bucks fluctuated from 145-200 pounds and the spreads the age of 14. said the seven is the biggest point size buck on the rack were anywhere from eight to 15 inches. he has ever shot. Lowell's Jack Bartholomew was the first hunter to hag Chuck Pfishner, Lowell, fired his winning shot at 7:50 and drag his buck to the Ledger office at 7:35 a.m. Barth- a.m. east on Four Mile. Using a 12-gauge, Pfishner shot olomew was out of the house by 6 a.m., saw his first buck an eight-point, 145-150 pound buck with a nine-inch spread. at 6:55 and shot it at 7:10. Randy Mclntyre. Lowell, was in Delton when he dropped "When I first saw the buck it was about 100 yards away. -
A Case Study Exploring the Agency of Black Lgbtq+ Youth In
A CASE STUDY EXPLORING THE AGENCY OF BLACK LGBTQ+ YOUTH IN NYC’S BALLROOM CULTURE By Shamari K. Reid Dissertation Committee: Professor Michelle Knight-Manuel, Sponsor Professor Yolanda Sealey-Ruiz Approved by the Committee on the Degree of Doctor of Education Date 19 May 2021 . Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT A CASE STUDY EXPLORING BLACK LGBTQ+ YOUTH IN NYC’s BALLROOM CULTURE Shamari K. Reid Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context. Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves. -
Sharing Economies and Affective Labour in Montréal's Kiki Scene
SERVING EACH OTHER: SHARING ECONOMIES AND AFFECTIVE LABOUR IN MONTRÉAL’S KIKI SCENE by Jess D. Lundy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Women’s and Gender Studies Carleton University Ottawa, Ontario © 2019, Jess D. Lundy Abstract Against a tense socio-political backdrop of white supremacy, intensifying pressures of neoliberal fiscal austerity, and queer necropolitics, this thesis addresses performance-based activist forms of place-making for urban-based queer, trans, and gender nonconforming communities of colour. Using participant observation and qualitative interviews with pioneering members of Montréal’s Kiki scene and Ottawa’s emerging Waacking community and interpreting my findings through the theoretical lens of queer of colour theory, critical whiteness studies, queer Latinx performance studies and Chicana feminism, I argue that Kiki subculture, which is maintained by pedagogical processes of ‘each one, teach one’, is instrumental in facilitating i) life-affirming queer kinship bonds, (ii) alternative ways to simultaneously embody and celebrate non- normative gender expression with Black, Asian, and Latinx identity, iii) non-capitalist economies of sharing, and iv) hopeful strategies of everyday community activism and resilience to appropriative processes during economic insecurity and necropolitical turmoil. ii Acknowledgements First and foremost, I would like to acknowledge the members of Montréal’s Kiki scene and Ottawa’s Waacking founder for their willingness to participate in this study despite the understandable reflex to safe-guard their own. Secondly, I extend my sincerest gratitude to my thesis supervisor Dr. Dan Irving. Apart from disproving that you should never meet your heroes, Dr. -
Durham E-Theses
Durham E-Theses Third parties in twentieth century American politics Sumner, C. K. How to cite: Sumner, C. K. (1969) Third parties in twentieth century American politics, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9989/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk "THIRD PARTIES IN TWENTIETH CENTURY AMERICAN POLITICS" THESIS PGR AS M. A. DEGREE PRESENTED EOT CK. SOMBER (ST.CUTHBERT«S) • JTJLT, 1969. The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. ACKNOWLEDGEMENTS. INTRODUCTION. PART 1 - THE PROGRESSIVE PARTIES. 1. THE "BOLL MOOSE" PROQRESSIVES. 2. THE CANDIDACY CP ROBERT M. L& FQLLETTE. * 3. THE PEOPLE'S PROGRESSIVE PARTI. PART 2 - THE SOCIALIST PARTY OF AMERICA* PART 3 * PARTIES OF LIMITED GEOGRAPHICAL APPEAL. -
Bruno Kamiński
Fear Management. Foreign threats in the postwar Polish propaganda – the influence and the reception of the communist media (1944 -1956) Bruno Kamiński Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 14 June 2016 European University Institute Department of History and Civilization Fear Management. Foreign threats in the postwar Polish propaganda – the influence and the reception of the communist media (1944 -1956) Bruno Kamiński Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Prof. Pavel Kolář (EUI) - Supervisor Prof. Alexander Etkind (EUI) Prof. Anita Prażmowska (London School Of Economics) Prof. Dariusz Stola (University of Warsaw and Polish Academy of Science) © Bruno Kamiński, 2016 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I <Bruno Kamiński> certify that I am the author of the work < Fear Management. Foreign threats in the postwar Polish propaganda – the influence and the reception of the communist media (1944 -1956)> I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. -
Kiyan Williams Interviewer: Esperanza Santos Date
Queer Newark Oral History Project Interviewee: Kiyan Williams Interviewer: Esperanza Santos Date: October 11, 2019 Location: Via phone call from Rutgers-Newark and Richmond, Virginia Vetted by: Cristell Cedeno Date: November 24, 2019 Interviewer: Today is October 11th, 2019. My name is Esperanza Santos, and I'm interviewing Kiyan Williams at Newark—at Rutgers Newark while they are in Richmond, Virginia, for the Queer Newark Oral History Project. Hi Kiyan. Interviewee: Hello. Interviewer: Hi. Well, thank you so much for taking time out to be with me today. Interviewee: It's really a pleasure. I'm so excited that we found the time to connect. Interviewer: Right. We've been emailing back and forth for a minute, but we made it work. Interviewee: Totally. Interviewer: Tell me, just to start off the conversation, when and where were you born? Interviewee: I was born in Newark, New Jersey. Interviewer: Can you tell me your birthday if that's okay? Interviewee: Yeah, I was born on March 6th, 1991, at UMDNJ. Interviewer: Does that make you an Aquarius or an Aries? Interviewee: It makes me a Pisces. Interviewer: Oh, it makes you a Pisces. Okay. Who raised you when you were growing up? Interviewee: I was raised by—primarily by my mother and also by my grandmother. Interviewer: Okay. When your grandma and your mom were raising you, did you grow up in one place, or did y'all move around a lot? Interviewee: I mostly grew up in East Orange, in North New Jersey. I spent all of my childhood and my teenage years between Newark and East, which are adjacent cities that are right next to each other. -
The Age of Video Games: Language and Narrative
Single Cycle Degree programme in Lingue e Letterature Europee, Americane e Post Coloniali ordinamento ex D.M. 270/2004 Final Thesis The Age of Video Games: Language and Narrative Supervisor Ch. Prof. David Newbold Assistant supervisor Ch. Prof. Daniela Cesiri Graduand Pietro Addis Matriculation Number 833471 Academic Year 2016 / 2017 Contents General Introduction 1 Chapter I: The Language of the Gaming Community Introduction 3 1.1 Language Divide 4 1.2 Main Characteristics 15 1.3 Language Censorship 40 1.4 New Varieties 43 Chapter II: The Narrative of Video Games 2.1 Narrative, Ludology and Video Games 50 2.2 Elements of Narrative 56 2.3 Cheating 70 2.4 Furthering the Narrative 72 2.5 Morality and Video Game 77 Chapter III: A Case Study Introduction 87 3.1 The Development Team 88 3.2 The Video Game Project 89 3.3 Plot 94 3.4 The Language of Vapor Knight 111 3.5 The Video Game Soundtrack 116 3.6 Character Development 120 Conclusions 123 Bibliography 125 General Introduction The birth, growth and spreading of the Internet has revolutionised the modes of communications between humans, providing a new form with which people can communicate with each other, even at great geographical distance. It also entails that the interaction between humans has changed, since many instances of communication are mediated by a device or a machine. The rise of the Internet has also introduced new linguistic and narrative aspects, which have embedded themselves into the lives of a vast percentage of the world population and particularly inside pop and youth culture. -
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED GETTING LIFE IN TWO WORLDS: POWER AND PREVENTION IN THE NEW YORK CITY HOUSE BALL COMMUNITY by EDGAR RIVERA COLÓN A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Anthropology Written under the direction of Professor Louisa Schein And approved by __________________________ __________________________ __________________________ __________________________ New Brunswick, New Jersey May, 2009 ABSTRACT OF THE DISSERTATION Getting Life in Two Worlds: Power and Prevention in the New York City House Ball Community By EDGAR RIVERA COLÓN Dissertation Director: Dr. Louisa Schein This dissertation project is an ethnographic study of the House Ballroom community in New York City. The House Ballroom community is a Black and Latino/a queer and transgender alternative kinship system and dance performance circuit. Specifically, it follows the lives of HIV prevention workers who are deeply embedded in House Ballroom social networks. Based on four years of anthropological fieldwork, I document the way that these community activists fashion meaningful lives in the meeting point between the Ballroom world and the HIV prevention not-for-profit organizations in New York City. It is also an ethnography of the productive failure of the gay and lesbian movement's inability to include working class Black and Latino/a queer communities in developing a political infrastructure to combat HIV/AIDS in New York City. My informants have helped to develop an alternative civil and political infrastructure by combining material and symbolic resources found in the HIV prevention not-for-profit ii organizations and the House Ballroom community. -
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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 fece, 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 bleedthrough, substandard margins, and improper alignment can adversely afreet 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. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. 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. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor NO 48106-1346 USA 313/761-4700 800/521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE CATHOUC CHURCH AND THE REBIRTH OF CIVIL SOCIETY: ELITE CONVERGENCE, MOBILIZATION AND DEMOCRATIC TRANSITIONS IN EAST-CENTRAL EUROPE A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Philosophy By Nathalie GAGNERE Norman, Oklahoma 1998 UMI Nounber: 9839793 Copyright 1998 by Gagnere, Nathalie All rights reserved. -
Vancouver Queer Film Festival Announces 2016 Lineup
For Immediate Release: Vancouver Queer Film Festival Announces 2016 Lineup Festival to play host to Madonna’s Strike a Pose dancers, and directors launched at Sundance, Tribeca and Cannes July 13, 2016 (Vancouver, BC) – The Vancouver Queer Film Festival (VQFF) released its complete festival lineup for the 11-day Festival, August 11 to August 21 curated by Artistic Director Shana Myara. More than 68 films will be showcased at the VQFF, along with 25 directors in attendance, 30 performing artists, and 3 free workshops, in addition to parties and talk back sessions. The Festival will host award-winning filmmaker Ingrid Jungermann from New York City and her critically acclaimed film Women Who Kill along with local filmmaker Joella Cabalu and her breakout feature It Runs in the Family. Tickets will be released for sale online at www.queerfilmfestival.ca/tickets this Friday July 15. “I’m exceptionally proud of our lineup this August,” says Artistic Director, Shana Myara. “From collaborative films about transformative trans and Black activists like Miss Major to the daring speculative drama Girls Lost, we bring a range of genres and experiences to make this a celebratory and curiosity-quenching 28th annual Festival. I’m also proud to renew our commitment to supporting the creation of new work with our inaugural Troublemakers videos, by and about local changemakers across generations.” The Festival will host VMA-nominated performer/choreographer Jose Gutierez Xtravaganza and Kevin Stea, both of whom accompanied Madonna on her “Blond Ambition World Tour”, which was the genesis of both the movie Madonna: Truth or Dare and the music video for the chart-topping single “Vogue”. -
Interaction, Extraction and Analyses of Consumer Reviews a Novel E
Telematics and Informatics xxx (xxxx) xxx–xxx Contents lists available at ScienceDirect Telematics and Informatics journal homepage: www.elsevier.com/locate/tele Interaction, extraction and analyses of consumer reviews: A novel e-billboard system ⁎ Wei-Yen Hsua,b,c, a Department of Information Management, National Chung Cheng University, Chiayi, Taiwan b Advanced Institute of Manufacturing with High-tech Innovations, National Chung Cheng University, Minhsiung, Chiayi, Taiwan c Center for Innovative Research on Aging Society (CIRAS), National Chung Cheng University, Chiayi, Taiwan ARTICLE INFO ABSTRACT Keywords: With the growth of Internet and electronic devices, the position of multimedia advertisement is Interactive e-billboard system getting more and more important. Our research aimed to combine this new technology with a Consumer reviews extraction web page to design a novel interactive e-billboard system which can collect consumer emotions. Motion-sensing We developed an interactive e-billboard based on Kinect motion sensing camera. The system Marketing provides a friendly user interface for users and improves the exposure rate and quality of ad- vertisement with a two-way interactive communication. The back-end system captures consumer emotions actively. The data collected will be used as a reference for the follow-up marketing strategy analysis. 1. Introduction Due to the prevailing of capitalism, competition of opponents becomes fiercer. In addition, because of the popularity of science technology, the proliferation of new media technologies has made them an indispensable part of people’s lives. (Wei and Leung, 1998; Hsu, 2015a) Advertisers can use a lot of new media and advanced technologies to stay close to consumers’ lives to increase their own sales volumes.