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Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2019 The Mountains at the End of the World: Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010 Paul L. Robertson Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the American Popular Culture Commons, Appalachian Studies Commons, Literature in English, North America Commons, and the Other Film and Media Studies Commons © Paul L. Robertson Downloaded from https://scholarscompass.vcu.edu/etd/5854 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Robertson i © Paul L. Robertson 2019 All Rights Reserved. Robertson ii The Mountains at the End of the World: Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. By Paul Lester Robertson Bachelor of Arts in English, Virginia Commonwealth University, 2000 Master of Arts in Appalachian Studies, Appalachian State University, 2004 Master of Arts in English, Appalachian State University, 2010 Director: David Golumbia Associate Professor, Department of English Virginia Commonwealth University Richmond, Virginia May 2019 Robertson iii Acknowledgement The author wishes to thank his loving wife A. Simms Toomey for her unwavering support, patience, and wisdom throughout this process. I would also like to thank the members of my committee: Dr. David Golumbia, Dr. -
September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND
OUT September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND... The Most Beautiful Woman in the World B y chucK Duncan If you’re a native of Baltimore (and even if you’re not), you certainly know John Waters and Divine. From John’s ear- ly short films from the late 60s to his 1972 calling card, Emmett C. Burns, Pink Flamingos, through 1988’s Hairspray, Waters and his Jr., Announces PAC muse Divine showed the rest of the world what the “reel” to Oppose Marriage Baltimore was like (and there was more than a little of the “real” in those films too). Equality Unfortunately, shortly after the release of Hairspray, Divine passed away suddenly at the true By Dana LaRocca height of his career (he was in Hollywood On September 9, Delegate Emmett C. Susan Lowe, preparing to tape an episode of Married Burns, Jr. (D-Baltimore County) met Mink Stole and Jeffrey … with Children at the time of his death), with eight other clergy at a church in Schwarz depriving the world of his talent and what west Baltimore to announce the for- during their might have come from his true “overnight” mation of “Progressive Clergy in interview stardom. Action” a political action committee. sessions in Today, Divine is a cult figure to many, The group is working with the help of Baltimore his legion of fans from around the world the Maryland Family Alliance, an af- photo: courtesy of Jeffrey Schwarz —continued on page 16 filiate of the Family Research Council (FRC). Delegate Burns has long been and Developed by a Combined Arms Center- an opponent of marriage equality. -
John Waters (Writer/Director)
John Waters (Writer/Director) Born in Baltimore, MD in 1946, John Waters was drawn to movies at an early age, particularly exploitation movies with lurid ad campaigns. He subscribed to Variety at the age of twelve, absorbing the magazine's factual information and its lexicon of insider lingo. This early education would prove useful as the future director began his career giving puppet shows for children's birthday parties. As a teen-ager, Waters began making 8-mm underground movies influenced by the likes of Jean-Luc Godard, Walt Disney, Andy Warhol, Russ Meyer, Ingmar Bergman, and Herschell Gordon Lewis. Using Baltimore, which he fondly dubbed the "Hairdo Capitol of the World," as the setting for all his films, Waters assembled a cast of ensemble players, mostly native Baltimoreans and friends of long standing: Divine, David Lochary, Mary Vivian Pearce, Mink Stole and Edith Massey. Waters also established lasting relationships with key production people, such as production designer Vincent Peranio, costume designer Van Smith, and casting director Pat Moran, helping to give his films that trademark Waters "look." Waters made his first film, an 8-mm short, Hag in a Black Leather Jacket in 1964, starring Mary Vivian Pearce. Waters followed with Roman Candles in 1966, the first of his films to star Divine and Mink Stole. In 1967, he made his first 16-mm film with Eat Your Makeup, the story of a deranged governess and her lover who kidnap fashion models and force them to model themselves to death. Mondo Trasho, Waters' first feature length film, was completed in 1969 despite the fact that the production ground to a halt when the director and two actors were arrested for "participating in a misdemeanor, to wit: indecent exposure." In 1970, Waters completed what he described as his first "celluloid atrocity," Multiple Maniacs. -
By Billups Allen Billups Allen Spent His Formative Years in and Around the Washington D.C
By Billups Allen Billups Allen spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and a film minor. He has worked in seven different record stores around the country and currently lives in Memphis, Tennessee where he works for Goner Records, publishes Cramhole zine, contributes music and movie writing regularly to Razorcake, Ugly Things, and Lunchmeat magazines, and writes fiction. (cramholezine.com, [email protected]) Illustrations by Codey Richards, an illustrator, motion designer, and painter. He graduated from the University of Alabama in 2009 with a BFA in Graphic Design and Printmaking. His career began by creating album art and posters for local Birmingham venues and bands. His appreciation of classic analog printing and advertising can be found as a common theme in his work. He currently works and resides at his home studio in Birmingham, Alabama. (@codeyrichardsart, codeyrichards.com) Layout by Todd Taylor, co-founder and Executive Director of Razorcake/Gorsky Press, Inc. Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. This zine is made possible in part by support by the Los Angeles County Department of Arts and Culture. Printing Courtesy of Razorcake Press razorcake.org ne rainy weekday, my friend and I went to a small Baltimore shop specializing in mid-century antiques called Hampden Junque. -
Out-Siders: Auteurs in Place by Nathan B. Koob a Dissertation
Out-siders: Auteurs in Place by Nathan B. Koob A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2015 Doctoral Committee: Professor Caryl Flinn, Co-Chair Associate Professor Daniel Chilcote Herbert, Co-Chair Emeritus Professor Richard Abel Distinguished Professor Lucy Fischer, University of Pittsburgh Professor Johannes von Moltke © Nathan B. Koob 2015 For My Family: Elise, Mom, Dad, Lisa, Crew Whose love and support never wavers and is always in place. ii ACKNOWLEDGEMENTS I imagine that every dissertation feels like a journey and in this case I feel like it is more a descriptor than a metaphor at this point given the amount of travel and discovery involved. I am overwhelmed by just thinking about the many people who have helped me to reach this place where I am at and I am so incredibly grateful. I would be remiss to not start at the beginning and mention my Senior High School English teacher who first began to teach me that cinema was something I could both love and engage with intellectually. I will never forget that John Erwin started me on this path by loaning me great films and being kind enough to sit down and talk with me about them. In my undergrad at Oklahoma State University I was lucky to have a mentor who understood my passion for the subject of media studies and how best to direct it. Hugh Manon was extremely important to my early development as a scholar and encouraging me to go to graduate school. -
On the 20Th Annual Chicago Underground Film Festival
Free One+One Filmmakers Journal Issue 12: Trash, Exploitation and Cult Volume 2 Contents Where volume one focused on Exploitation cinema and the appropriation of its tropes in commercial and art cinema, this volume changes tact, exploring themes of film exhibition and the Carnivalesque. 04 39 The first two articles are dedicated to the former theme. In these articles James Riley White Walls and Empty Rooms: From Cult to Cabaret: and Amelia Ishmael explore the exhibition of underground cinema. From the film festi- A Short History of the Fleapit An Interview with Mink Stole val to the ad hoc DIY screening, these articles adventure into the sometimes forebod- James Riley Bradley Tuck and Melanie Mulholland ing landscape of film screenings. The following articles explore the topic of the carni- valesque, both as an expression of working class culture and queer excess. Frances Hatherley opens up this theme with an article on the TV show Shameless exploring the 12 Tyrell48 & Back demonisation of the working classes in Britain and mode of politicisation and defiance The Chicago Underground Film Festival Amelia Ishmael Susan Tyrell Obituary embedded in the TV show itself. Through Frances’ article, we discover in Shameless, Melanie Mulhullond not the somber working class of Mike Leigh or Ken Loach, but the trailer trash of John Waters. Appropriately, therefore, this articles is swiftly followed by a discussion between 24 James Marcus Tucker and Juliet Jacques on Rosa von Praunheim’s City of Lost Souls; Defensive Pleasures: Gerontophila51 a film that wallows in the carnivalesque decadence of queer life. City of Lost Souls is a Class, Carnivalesque and Shameless Bruce LaBruce film that springs from a tradition of queer cinema with obvious parallels with the works Frances Hatherley of Paul Morrissey, Jack Smith, George and Mike Kuchar and John Waters. -
A Picture of Cookie Mueller by Chloé Griffin - Book Launch and Reading, Vintage Photographs and Videos
Between Bridges Keithstrasse 15 10787 Berlin www.betweenbridges.net Edgewise: A Picture of Cookie Mueller by Chloé Griffin - Book launch and reading, vintage photographs and videos ROOM 1 Audio Excerpts from recorded interviews for Edgewise, 2014 (Paul Paulun & Chloé Griffin) Wall Photocopy, Index from Cookie Mueller’s book How to Get Rid of Pimples, (Top Stories, 1984) Poster for the stage production of The Roman Polanski Story, 1981 (Jon Mathews) Cookie Mueller’s CV Poster for the film Subway Riders, directed by Amos Poe, 1981 Photocopy, Ask Dr. Mueller, Cookie Mueller’s health column for the East Village Eye issue May 1983 Photocopy, Ask Dr. Mueller, Cookie Mueller’s health column for the East Village Eye issue March, 1983 Vitrine 1 Cassettes of recorded interviews by Chloé Griffin during her research for Edgewise 2 How to Get Rid of Pimples (Top Stories, 1984) 3 Fan Mail, Frank Letters, and Crank Calls (Hanuman Books, 1988) 4 Garden of Ashes (Hanuman Books, 1990) 5 Flyer for the book launch of How to Get Rid of Pimples at club Area in NYC, 1984 6 Flyer for a reading at the Mudd Club in NYC, c. 1983 7 Walking Through Clear Water in a Pool Painted Black (Semiotext(e), 1990) 8, 9 Working model of Edgewise: A Picture of Cookie Mueller for the design and layout by Chloé Griffin and Gwenaël Rattke Table 1 Max Mueller hiding behind his mother’s skirt, Provincetown, c. 1975 (Jonathan Morril, courtesy of Max Mueller) 2 Drawing made by Vittorio Scarpati, husband of Cookie Mueller, while he was in the hospital, NYC, 1988 (courtesy of Max Mueller) 3 Vittorio Scarpati & Cookie at Bar di Martino, Positano, c. -
Copyrighted Material
Chapter 1 The Roots Baltimore. The story of Hairspray begins here, as does the story of its director. John Samuel Waters, Jr was born in Maryland’s largest municipality on April 22, 1946. He was raised in suburban Lutherville, in an upper-middle-class Catholic home. His parents, Patricia Ann Whitaker and John Samuel Waters, a successful manufacturer of fire- protection equipment, provided him with a happy and conventional childhood despite recognizing early on that their eldest child was “an odd duck” (Waters, 2004b).1 For example, he was obsessed with cata- strophic automobile wrecks, fires (an interest he shared with his father), hurricanes, and disasters in general, all of which fed the grisly fantasies of his precocious imagination. He was drawn to stagecraft, costuming, and showmanship, always with an entrepreneurial edge. Neighborhood children paid a nickel for admission to his family’s garage, which Waters transformed into a “horror house.” He staged puppet shows for local birthday parties at US$20 a pop, presenting hyper-violent versions of Cinderella and Punch and Judy. He devel- oped a particular fascination with the stage actor, Cyril Ritchard’s portrayal of Captain Hook, so much that the young Waters attempted to imitate him by scotch-taping his fathers’ neckties to his head to cre- ate the appearance of long, pirate locks. Growing COPYRIGHTEDup, Waters loved the movies. He especiallyMATERIAL enjoyed horror films, films with evil villains, or anything involving a gimmick. In the late 1950s, he became a fan of the director William Castle, the “King Hairspray, First Edition. Dana Heller. © 2011 Dana Heller. -
Harbinger May 4, 1998 Page 4 Harp^C^Ows Speech Team Talks Its Way Into 12Tli Place Witli One National Champion
Harbinger Vol. XXX [i.e.Vol. 32] August 25, 1997 Through May 4, 1998 President Thompson discusses past and future Music, comedy " ity there lor 7 year* a good time for the college to have a featured in Fall •CTMGEnTORm CHIEF Why did you ccMoe to Haipcf? new leader" Deciding to move un K) other 'I had been in Illinois as a ptesi- Did the opportunity at McHenty A&E line-up opportunities. Harper Pivsudenl Paul tlenl, vice fnesident and a faculty CoBuniinity College have anything JayMMtotM Thi>inpson ha* aak«d the Boaid of member and kiww the Ulinou sys- to do with your decision? *41 fDf' OR Trustees not to renew hi» current len wcU..." "No, the Board of TruKtees at Harper College looks ahead to the contract, whK-h expires June 30. 1"**, McHenry were looking for someone fail semester with many exciting Thompson has served m else - events including free concerts in the ' jrper's prendent ior 10 yens and %»wmvttmaafia Why did you drop out of the run- Quad. ci>medians |ohn Stewart aiKl >tiU. some studeMs don't realize how niiwr I>an Zevin and the showing of sever- important it n to know who rht>ir 'It teemed to me that the dirvt- al movies Here is the ivst of the havcaaew I pre«iden( i» tion il was going, the fit for me and planned A4E events; In i reci-nt inlcrv mti uw HaipcrCaik^ the M-tting was not quite what I • August 28: The Chicago blues Thompson, ht- sht-d light on his past, Plaui thought It should be Iwasmrfwhat " baivl Miuissippi Heat will l>e giving present and future o( himM<lf atvl they were looking for a free concert al noon in the Quad Harper Cotle^. -
FEMALE TROUBLE Um Filme De John Waters Com Divine, David Lochary, Mary Vivian Pearce, Mink Stole, Edith Massey EUA, 1974 – 1H29 | M/16 CÓPIA DIGITAL RESTAURADA
FEMALE TROUBLE um filme de John Waters com Divine, David Lochary, Mary Vivian Pearce, Mink Stole, Edith Massey EUA, 1974 – 1h29 | M/16 CÓPIA DIGITAL RESTAURADA Uma comédia grotesca repleta de melodrama Hollywoodesco Que pensez-vous du fait que l’on vous associe toujours aux e perfumada por uma decadência anárquica, Female Trouble punks ? é amplamente considerado o opus magnum de John Waters, Je pense qu’il n’y a rien de plus déprimant que d’imaginer nomeadamente pela sua protagonista e icónica drag queen, un punk de quarante ans. Nous avions cette apparence et Divine, e pelo próprio cineasta. Divine, a eterna musa de ces attitudes avant que cela ne Devienne à la mode, pour Waters, é particularmente carismática ao vestir a pele de heurter la love generation. J’ai été parcouru d’un frisson de Dawn Davenport, encarnando o mote da obra: “Crime é bonheur quand j’ai vu les premiers punks. Ma mère m’a dit : « beleza”. A história progride de rompante, começando por ser Heureusement que tu n’as pas seize ans, tu te coifferais à la um pesadelo na adolescência para se tornar na ascensão mohican ! » Mais je pense que le punk est une mode parfaite ao estrelato de uma serial killer, refém dos seus impulsos pour les filles moches. egomaníacos. Filmado em 16 mm e com os Dreamlanders Mink Stole, David Lochary, Mary Vivian Pearce, Edith Massey e Comment êtes-vous venu au cinéma ? Cookie Mueller (os colaboradores habituais de Waters), Female Trouble oferece prazeres perversos que nunca desiludem. J’ai toujours été au cinéma, mais toujours aimé les films que je n’aurais pas dû aimer. -
It Isn't Very Pretty… the Complete Films of John Waters (Every Goddam One of Them…)
It isn’t Very Pretty… The Complete Films of John Waters (Every Goddam One of Them…) Photo credit: Lawrence Irvine, Greg Gorman, Phillip V. Caruso, Larry Dean, Henny Garfunkel This September at BFI Southbank, featuring a night with John Waters on stage “in conversation” with season curator Justin Johnson “Where do these people come from? Where do they go when the sun goes down? Isn’t there a law or something?” - Film critic Rex Reed on John Waters’ Female Trouble Friday 3 July 2015, London From 1 September – 6 October 2015 BFI Southbank will be celebrating 50 years of filth, with a retrospective dedicated to the legendary film director John Waters, famous for cult hits such as Pink Flamingos (1972), Female Trouble (1974) and Hairspray (1988) as well as bigger budget films like Cry Baby (1990) and Serial Mom (1994) starring Johnny Depp and Kathleen Turner respectively. The season It isn’t Very Pretty… The Complete Films of John Waters (Every Goddam One of Them…) couldn’t claim to be screening ‘every goddamn one’ of his films without including Waters’ earliest forays into filmmaking, and the BFI is thrilled to be able to include, completely free of charge, his short films from the 60s, which have never been seen in the UK. John Waters will take to the BFI Southbank stage for a very special In Conversation event with season curator Justin Johnson on Friday 18 September, as well as introduce a number of screenings during the season. As an additional treat John Waters has also personally selected six eclectic British films to accompany the season in a dedicated sidebar Teabaggin’ in the Kitchen Sink: My Favourite British Films – these films have moved or inspired him in some shape or form, and include Joseph Losey’s Boom! (1968) and Roger Michell’s The Mother (2003). -
“ the Pope of Trash.” “ Even the Garbage Is Too Good A
presents The theatrical premiere of John Waters’ rarely seen trash classic! “ Can only be compared to Todd Browning’s Freaks.” —Los Angeles Free Press “ The pope of trash.” —William S. Burroughs “ Even the garbage is too good a place for it.” —Mary Avara, Maryland Board of Censors John Waters’ gloriously grotesque, unavailable-for-decades second feature comes to theaters at long last, replete with all Multiple Maniacs was shot on an Auricon 16 mm camera using manner of depravity, from robbery to murder to one of cinema’s Kodak black-and-white reversal film with audio magnetic stripe. most memorably blasphemous moments. Made on a shoestring Additional exterior footage was filmed on a Bell & Howell hand- budget in Baltimore, with Waters taking on nearly every technical cranked camera. Plus-X film was used for the exteriors, while task, this gleeful mockery of the peace-and-love ethos of its era Tri-X was used for the interiors. The reversal original was kept features the Cavalcade of Perversion, a traveling show put on by in John Waters’ closet from 1970 until he moved in 1990, after a troupe of misfits whose shocking proclivities are topped only which it was kept in Waters’ attic at occasional 100-plus-degree by those of their leader: the glammer-than-glam, larger-than- temperatures—until the Criterion Collection retrieved it and life Divine, who’s out for blood after discovering her lover’s scanned it in 4K resolution on a Lasergraphics Director film affair. Starring Waters’ beloved regular cast the Dreamlanders scanner at Metropolis Post in New York.