The Need for Autonomy
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If Only Script
If Only Libretto by David Stauffer Music by Max Shinn Revised September 2011 Copyright Notes Most copyright notices are written to deny you rights. This one, however, is written to grant them to you. The script and score are available under the Creative Commons Attribution Share-Alike License. In layperson terms, this means the following: 1. You may perform this work in any context at no cost 2. You may make an unlimited number of copies of the script and score 3. You may make audio and video recordings of performances 4. You may take individual songs or scenes out of context for use in revues, videos, or other works 5. You may make changes to the script or score, as long as you clearly indicate what was changed The only legal requirements of performing this musical are: 1. You must give credit to the authors and display a link to the show's homepage: http://IfOnly.BernsteinForPresident.com 2. You must clearly indicate to the audience that the show is available under the Creative Commons Attribution Share-Alike License To view the license, visit: http://creativecommons.org/licenses/by-sa/3.0/ You may also send a written request to: Creative Commons 444 Castro Street, Suite 900 Mountain View, California 94140, USA. Though it is not a legal requirement, you are also encouraged to contact the creative team at [email protected] if you are putting on a production so that we can update our directory. If you have any other questions, comments, or sarcastic remarks about the show, you are also encouraged to email us. -
The Spice Girls As a Case Study for Intersections Between Popular
Ben-Gurion University of the Negev The Faculty of Humanities and Social Sciences Department of Politics and Government "Chicas to the Front": The Spice Girls as a Case Study for Intersections between Popular Culture and Feminism Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Arts Degree Maayan Padan Under the Supervision of Prof. Dani Filc and Dr. Catherine Rottenberg January 2017 I II Abstract Recent years have seen the emergence of a new analytical category in the field of critical media and cultural studies – Post-feminism. This category is claimed to be a sensibility, in which feminist notions are brought to center of attention in various venues only to be treated as ridiculous, irrelevant and unattractive. At the expense of radical feminism political agenda, a message of individualism and consumerism is stressed, transforming every aspect of life into a commodity. Post-feminism draws its prominence mostly from girls and young women, as it promises them an individual subjectivity, if only they renounce collective political demands. Many scholars argue that one of the main sites of post-feminism to operate is mainstream popular culture, due to its commercial character. This argument derives from the analysis of the moment of decoding messages from popular culture's texts. This study examines this observation, by exploring the relationship between popular culture and feminism while focusing in the moment of encoding messages, drawing on the Spice Girls as a case study. The questions that stimulate this study are concerned with feminism and post-feminism, with popular culture icons and the messages they encode, and with girl culture and its agentive possibilities. -
Latino/A Pop Music in the Cultural Mainstream
Seattle University School of Law Digital Commons Faculty Scholarship 1-1-2001 Will the Wolf Survive?: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.law.seattleu.edu/faculty Part of the Law and Society Commons Recommended Citation Steven W. Bender, Will the Wolf Survive?: Latino/a Pop Music in the Cultural Mainstream, 78 DENV. U. L. REV. 719 (2001). https://digitalcommons.law.seattleu.edu/faculty/357 This Article is brought to you for free and open access by Seattle University School of Law Digital Commons. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Seattle University School of Law Digital Commons. For more information, please contact [email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
Latino/A Pop Music in the Cultural Mainstream
Denver Law Review Volume 78 Issue 4 Latcrit V Symposium - Class in LatCrit: Theory and Praxis in a World of Economic Article 12 Inequality December 2020 Will the World Survive: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.du.edu/dlr Recommended Citation Steven W. Bender, Will the World Survive: Latino/a Pop Music in the Cultural Mainstream, 78 Denv. U. L. Rev. 719 (2001). This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in Denver Law Review by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
Of English a -.:: Didaktis
THE MAGAZINE FOR YOUR ENGLISH YEAR XXI N°1 www.elimagazines.com A2-B1 © Getty images a of English Celebrities Geri Halliwell YEAR XXI N°1 • August September October 2008 • Imprimé á Taxe Réduite Taxe August September October 2008 • Imprimé á YEAR XXI N°1 • 6 8 12 The big issue Poster Learn and Google! Famous buildings play in the UK Cooking Cartoon That’s it, I have to say What is it, Guys! Come on! something! dear? Dinner time is the only time when we can all be together. Please, let’s sit together. You’re One day, you’ll miss Sorry. The It’s nice to right, dad. your parents. family has sit together. to stick together. That’s not quite What did you say, what I meant. dad? Unauthorised photocopying is illegal. © dargaud 2 tot Welcome to Tot Contents Hello everybody, and welcome to A Tot of English, your ticket Celebrity news 4 to the world of English. We’ve got exciting news from Geri Halliwell the UK and from all over the world for you to read The Clacsons and listen to. So come on board and let’s start! 5 Have fun! Julia The big issue 6 Google! www.elimagazines.com [email protected] Poster 8 Famous buildings Good news for the environment* You’ve got mail 10 Back to school Stars in your eyes The world’s largest 11 water reserve* Jessica Alba Learn and play in the UK 12 Cooking The largest water reserve in the It is an area of outstanding* world is in Kiribati in the Pacific beauty where the views are Brain teasers Ocean. -
International.Pdf
10 CC A.B.C Donna All of my heart Dreadlock holiday The look of love I'm mandy I'm not in love A1 Rubber bullets The things we do for love Caught in the middle Everytime 2 PAC Like a rose Make it good California love No more Thugz mansion Nothing Ready or not 2 UNLIMITED Same old brand new you Summertime of our No limits Take me on 21 ST CENTURY GIRLS AALIYAH 2 More than a woman 3 DOORS DOWN We need a resolution (duo avec TIMBALAND) Here without you ABBA Angel eyes 3 OF A KIND As good as new Baby cakes Chance of me Chiquitita 3 SL Dancing queen Does your mother know Take it easy Eagle Fernando 3T Gimme gimme gimme Anything Happy new year Honey honey 4 NO BLONDES I do I do I do I have a dream What's up If it wasn't for the nights Knowing me knowing you 411 Lay your love on me Mama mia Dumb Medley Teardrops Money money money One of us 50 CENTS Ring ring 21 questions Rock me Candy shop S.O.S In da club So long Just a lil bit Summer night city Super trouper 911 Take a chance on me Thank you for the music A little bit more The day before you came All I want is you The name of the game How do you want me to The winner takes it all More than a woman Under attack Party people Voulez-vous Private number Waterloo When I kissed the teacher 98 DEGREES Winner takes it all Because of Give me just one night ABDUL Paula Cold hearted A-HA Opposites attract Analogue Rush rush Forever not yours Straight up Hunting high and low Summer moved on ABS Take on me 7 ways The living daylights Little miss perfect The sun aways shines on TV What you got Touchy ACDC -
No Exit and Three Other Plays by Jean Paul Sartre
NO EXIT AND THREE OTHER PLAYS BY JEAN PAUL SARTRE NO EXIT (Huis Clos) THE FLIES (Les Mouches) translated from the French by Stuart Gilbert DIRTY HANDS (Les Mains sales) THE RESPECTFUL PROSTITUTE (La Putain respectueuse) translated from the French by Lionel Abel NO EXIT (Huis Clos) – A PLAY IN ONE ACT CHARACTERS IN THE PLAY VALET GARCIN ESTELLE INEZ Huis Clos (No Exit) was presented for the first time at the Theatre du Vieux-Colombier, Paris, in May 1944. SCENE A drawing-room in Second Empire style. A massive bronze ornament stands on the mantelpiece. GARCIN [enters, accompanied by the ROOM-VALET, and glances around him]: Hm! So here we are? VALET: Yes, Mr. Garcin. GARCIN: And this is what it looks like? VALET. Yes. GARCIN: Second Empire furniture, I observe. Well, well, I dare say one gets used to it in time. VALET. Some do. Some don't. GARCIN Are all the other rooms like this one? VALET. How could they be? We cater for all sorts: Chinamen and Indians, for instance. What use would they have for a Second Empire chair? GARCIN: And what use do you suppose I have for one? Do you know who I was?. Oh, well, it's no great matter. And, to tell the truth, I had quite a habit of living among furniture that I didn't relish, and in false positions. I'd even come to like it. A false position in a LOUIS-Philippe dining-room—you know the style?—well, that had its points, you know. Bogus in bogus, so to speak.