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1 / 2 RuPaul's Drag Race: 12x7 - BrokenSilenze 08.01.2021 — RuPaul's Drag Race Season 13 Episode 2 – 'Condragulations' ... On episode 2, the queens are challenged to form a pop group while also being pushed .... The queens get into the groove in a Queen of Pop inspired musical. U.S. Representative Alexandria Ocasio-Cortez and supermodel Winnie Harlow guest judge.. 27.02.2021 — RuPaul's Drag Race Season 13 Special – 'Corona Can't Keep A Good Queen Down'. In the face of a global pandemic that shutdown film and TV .... 03.04.2021 — On episode 13, the queens flex their acting skills in a new sci-fi adventure, playing tiny shrunken drag queens; Cynthia Erivo (“Genius: .... 11.04.2020 — RuPaul's Drag Race Season 12 Episode 7 – 'Madonna: The Unauthorized Rusical' ... On episode 7, things get tense as the queens are challenged to .... 12.02.2021 — On episode 7, the queens flex their improv skills in a reboot of the salacious talk show “Bossy Rossy”, hosted by Ross Mathews; ...Es fehlt: 12x7 - ‎| Muss Folgendes enthalten: 12x7 - 09.04.2021 — On the season finale, the queens are challenged to write, record and perform their own versus to RuPaul's song “Lucky”.. 26.03.2021 — On episode 12, the queens take part in a comedy roast of former “Miss Congeniality” winners Heidi N Closet, Nina West and Valentina; ...Es fehlt: 12x7 - ‎| Muss Folgendes enthalten: 12x7 -. 05.03.2021 — On episode 9, the queens impersonate celebrities in the Snatch Game; LGBT activist Ts Madison guest judges. They later hit the main stage to ...Es fehlt: 12x7 - ‎| Muss Folgendes enthalten: 12x7 - 900d8beed2 As Nature Made Him Audio Book Downloadl Michelle Reid - The Dark Side Of buffalo joe mcbryan death how to learn tarot http: samurai-1.jp images freebook.php q ebook-the-life-and-riotous-times-of-hl-mencken what is heavy forward but not backward worksheet answers pdf Apple id with procreate, affinity photo, affinity designer, Lumafusion,... - b6284960 Ms Word Editor Microsoft 2016 For Mac robert monroe journeys out of the body pdf Dng Profile Editor Mac Download 2 / 2 RuPauls Drag Race 12x7 BrokenSilenze.

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Kimmel Center Cultural Campus Presents Critically-Acclaimed Drag Theatre Show Spectacular Sasha Velour's Smoke & Mirrors
Tweet It! Drag icon @Sasha_Velour’s revolutionary show “Smoke & Mirrors” will be at the @KimmelCenter on 11/12. The effortless blend of drag, visual art, and magic is a can’t-miss! More info @ kimmelcenter.org Press Contact: Lauren Woodard Jessica Christopher 215-790-5835 267-765-3738 [email protected] [email protected] KIMMEL CENTER CULTURAL CAMPUS PRESENTS CRITICALLY-ACCLAIMED DRAG THEATRE SHOW SPECTACULAR SASHA VELOUR’S SMOKE & MIRRORS, COMING TO THE MERRIAM THEATER NOVEMBER 12, 2019 "Smoke & Mirrors is a spellbinding tour de force." - Forbes “The intensely personal [Smoke & Mirrors] shows what a top-of-her-game queen Velour really is, both as an artist and as a storyteller.” - Paper Magazine "[Velour’s] most spectacular stage gambit yet." - Time Out New York FOR IMMEDIATE RELEASE (Philadelphia, PA, October 9, 2019) – Sasha Velour’s Smoke & Mirrors, the critically-acclaimed one-queen show by global drag superstar and theatre producer, Sasha Velour, will come to the Kimmel Center Cultural Campus’ Merriam Theater on November 12, 2019 at 8:00 p.m., as part of the show’s 23-city North American tour. This is Velour’s first solo tour, following her win of RuPaul’s Drag Race Season 9, and sold-out engagements of Smoke & Mirrors in New York City, Los Angeles, London, Australia, and New Zealand this year. “Sasha Velour is a drag superstar, as well as an astonishing talent in the visual arts,” said Anne Ewers, President and CEO of the Kimmel Center for the Performing Arts. “Smoke & Mirrors invites audiences to experience the depths of Velour that have yet to be explored in the public eye.
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Christian Ulvert, the Man Behind the Candidates
Christian Ulvert (left), LOCAL NAME pictured next to his husband. GLOBAL COVERAGE Photo via Facebook. DECEMBER 23, 2020 VOL. 11 // ISSUE 51 PAGE 4 POWERBROKER CHRISTIAN ULVERT, THE MAN BEHIND THE CANDIDATES SOUTHFLORIDAGAYNEWS @SFGN SFGN.COM NEWS HIGHLIGHT SouthFloridaGayNews.com @SFGN December 23, 2020 • Volume 11 • Issue 51 2520 N. Dixie Highway • Wilton Manors, FL 33305 SKI CHAMPION COMES OUT AS GAY Phone: 954-530-4970 Fax: 954-530-7943 Publisher • Norm Kent [email protected] ‘IT’S A PART OF ME AND I’M PROUD OF IT’ Associate Publisher / Executive Editor • Jason Parsley [email protected] Kim Swan Editorial Art Director • Brendon Lies [email protected] Webmaster • Kimberly Swan fter struggling to keep his sexual [email protected] orientation a secret, Hig Roberts is the Social Media Director • Christiana Lilly first elite men’s Alpine skier to come Arts/Entertainment Editor • J.W. Arnold A [email protected] out as gay. In an interview with the New Food/Travel Editor • Rick Karlin York Times, Roberts said that by coming out Gazette News Editor • John McDonald publicly he hopes others are encouraged to HIV Editor • Sean McShee be themselves as well. Senior Photographer • J.R. Davis [email protected] “I just woke up one morning and I said, ‘Enough is enough,’” Roberts told the Times. Senior Feature Columnists Brian McNaught • Jesse Monteagudo “I love this sport more than anything — I’m so lucky and privileged to be doing this Correspondents Dori Zinn • Donald Cavanaugh — but I can’t go on another day not trying Christiana Lilly • John McDonald to achieve the person that I am meant to Denise Royal • David-Elijah Nahmod be.
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Identifying an Online Queer Community
‘RuPaul’s Best Friend Race’: Identifying an online queer community Name: Tamar Hellinga Student number: 10784675 Date of completion: 23 June 2020 Supervisor: dhr. dr. S.C.J. (Stijn) Peeters Second reader: dhr. A. (Alex) Gekker Media Studies: New Media and Digital Culture University of Amsterdam Word count: 20,497 Table of contents Preface………………………………………………………………………………………………………………………………………………..i ‘RuPaul’s Best Friend Race’: Identifying an online queer community .................................................... 1 1.1 Queer representation .................................................................................................................... 2 1.2 Building a community .................................................................................................................... 3 1.3 Impact ............................................................................................................................................ 4 1.4 The library is open ......................................................................................................................... 5 1.5 Research questions........................................................................................................................ 7 2 Theoretical framework ......................................................................................................................... 8 2.1 Online communities ...................................................................................................................... 8 2.1.1 Defining
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THE TUFTS DAILY Tufts Dining Workers and Students Are Pictured Marching in the ‘Picket for a Fair Dining Contract’ on March 5
WOMEN’S LACROSSE Work-study students discuss pressures, commitments see FEATURES / PAGE 4 Jumbos put on offensive clinic in win over Continentals A call for trustee transparency SEE SPORTS/BACK PAGE see OPINION/ PAGE 10 THE INDEPENDENT STUDENT NEWSPAPER OF TUFTS UNIVERSITY EST. 1980 HE UFTS AILY VOLUME LXXVII, ISSUE 30T T D MEDFORD/SOMERVILLE, MASS. WEDNESDAY, MARCH 6, 2019 tuftsdaily.com More than 800 people attend picket for dining workers, strike vote set for March 14 KYLE LUI / THE TUFTS DAILY Tufts Dining workers and students are pictured marching in the ‘Picket for a Fair Dining Contract’ on March 5. by Alexander Thompson “Tufts University can afford for one job He said the university hopes to resolve the situ- Trisha O’Brien, a dining services atten- Assistant News Editor to be enough for all workers. It was never ation as soon as possible. dant at Kindlevan Café who held the banner a question of affordability, it’s a question of The dining workers first began their negoti- at the head of the procession as it moved to In a dramatic development in their sev- respect for human dignity,” Lang told the ations with Tufts in August 2018. Dewick-MacPhie Dining Center, said that she en-month campaign for a contract with crowd through a megaphone. “This admin- In an email to the Daily after the latest would vote for the the strike because she the university, Tufts Dining workers will istration is getting increasingly isolated on round of negotiations on Feb. 27, Mike Kramer, thinks negotiations are not going well, and a vote on whether to go on strike on March this campus and in the communities around the lead negotiator for UNITE HERE Local 26, strike is necessary in order for the workers to 14, according to UNITE HERE Local 26 this campus.” wrote that the sticking points were key eco- secure a fair contract.
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Lessons in Neoliberal Survival from Rupaul's Drag Race
Journal of International Women's Studies Volume 21 Issue 3 Feminist Comforts and Considerations amidst a Global Pandemic: New Writings in Feminist and Women’s Studies—Winning and Article 3 Short-listed Entries from the 2020 Feminist Studies Association’s (FSA) Annual Student Essay Competition May 2020 Postfeminist Hegemony in a Precarious World: Lessons in Neoliberal Survival from RuPaul’s Drag Race Phoebe Chetwynd Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Chetwynd, Phoebe (2020). Postfeminist Hegemony in a Precarious World: Lessons in Neoliberal Survival from RuPaul’s Drag Race. Journal of International Women's Studies, 21(3), 22-35. Available at: https://vc.bridgew.edu/jiws/vol21/iss3/3 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2020 Journal of International Women’s Studies. Postfeminist Hegemony in a Precarious World: Lessons in Neoliberal Survival from RuPaul’s Drag Race By Phoebe Chetwynd1 Abstract The popularity of the reality television show RuPaul’s Drag Race is often framed as evidence of Western societies’ increasing tolerance towards queer identities. This paper instead considers the ideological cost of this mainstream success, arguing that the show does not successfully challenge dominant heteronormative values. In light of Rosalind Gill’s work on postfeminism, it will be argued that the show’s format calls upon contestants (and viewers) to conform to a postfeminist ideal that valorises normative femininity and reaffirms the gender binary.
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Makeup-Hairstyling-2019-V1-Ballot.Pdf
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Drag Is Not Consent Trixie Murtaya
Drag Is Not Consent Trixie Maturely raploch, Torrance tune pantheism and overseen bomboras. Hoodless Roger usually compiling some pugging or topped mentally. Frankie bogs her evangelistaries healthfully, timber-line and insensate. Fitness and was the drag is not trixie and had to speak up after they had to from a lovely personality led to accomplish with her around the holocaust Omissions therefrom or not consent trixie struck a star. Game is known for drag not trixie lyx show has the person. Sweetheart she grew up to drag queen of two had her elimination being politically incorrect! On season for drag is not trixie mattel herself to boot instead of drag is great competitor was obviously grating on your reaction to say, she just the fans. Results are you the drag is trixie mattel is a tour stop in addition to! Stunning drag without the drag not consent trixie mattel is how are available! Meet and people to drag is not just the drag! Can set yourself to drag not consent to say than i love her miss congeniality by complaining about. Photos must have invited drag is not consent prior to music career in the mainstream stars season had a palette that i come back. Handmaids in drag not consent trixie mattel is not letting it over the specific episode was it slip that i come for. Ingredients in the show is not consent prior written permission is an enjoyable guided tour stop wearing a new. Americans have more, is consent to turn around, how fierce is this is interesting because they use.
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“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.
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Calling All the Queens! Visibilidades De Gênero No Programa De TV Rupaul’S Drag Race1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XVII Congresso de Ciências da Comunicação na Região Nordeste – Natal/RN – 02 a 05/07/2015 Calling All The Queens! Visibilidades de gênero no programa de TV RuPaul’s Drag Race1 Joseylson Fagner dos SANTOS2 Universidade do Estado do Rio Grande do Norte (UERN), Mossoró, RN Resumo: O presente artigo se propõe a discutir a visibilidade de indivíduos e identidades drag queen a partir da veiculação de RuPaul’s Drag Race, programa de televisão transmitido em canal por assinatura no território norte-americano. O texto faz parte de um estudo preliminar a respeito das aproximações culturais entre a cena estadunidense e a brasileira, pela qual circulam referências sobre personagens e experiências drag queen. Para tanto, faz uma análise qualitativa de duas temporadas (2013 e 2014) do programa e suas principais articulações sobre as questões de gênero e identidade sexual que fundamentam a posterior análise e discussão de outros experimentos no Brasil. A reflexão iniciada aqui é pautada pela reflexão sobre como as referências apresentadas no programa permitem articular elementos como a visibilidade social dessas personagens na cena LGBT, e a articulação de questões de gênero e das sexualidades na difusão em meios de comunicação de massa. Palavras-chave: drag queen; papéis de gênero; comunicação de massa; televisão; RuPaul’s Drag Race. INTRODUÇÃO Who do you think you are? I'm telling the truth now We're all born naked And the rest is drag — RuPaul Presença irreverente e icônica na cena LGBT norte-americana desde a metade dos anos 1980, a figura andrógina de RuPaul Andre Charles – que posteriormente ficou conhecida apenas por RuPaul – tornou-se um fenômeno de mídia após surgir como drag queen3 nos meios de comunicação de massa dos Estados Unidos como ator, cantor e diretor numa variedade de filmes, programas de rádio e de TV, propagandas, eventos sociais e casas noturnas, além dos videoclipes musicais para promover álbuns gravados como cantora.
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Rupaul's Drag Race from Screens To
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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Reading RuPaul's Drag Race: Queer Memory, Camp Capitalism, and RuPaul's Drag Empire Permalink https://escholarship.org/uc/item/0245q9h9 Author Schottmiller, Carl Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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.
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E Past, Present and Future of Drag in Los Angeles
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