Valerie Glee Sheet Music Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Valerie Glee Sheet Music Pdf Valerie glee sheet music pdf Continue Whether it's covering topics like teenage sex, seeing Jesus in a grilled cheese sandwich, or homophobia, Glee has never shied away from controversy. If you've never seen a single episode of The Choir, and you think it's all fun and a game show about singing high school seniors, I suggest you snatch the nearest box of cloth and organize yourself in front of the nearest TV, because among Gaga's covers and Britney impersonations, this show means serious business. There is no Top 40 hit that the chorus has not evolved into a mainstream plot point focused on the divisive social issue of the day, which is probably one of the reasons the show has maintained its popularity and is dedicated to following. Is there any controversial news? There's a chorus episode for that. The show's five-year mass appeal can be attributed to its signature formula: light and fluffy on the outside, dark and topical on the inside. Viewers come for Madonna's performance and romantic teen drama, but stay when the sh-t becomes real. And it often gets very, very real. In honor of the choir's fifth anniversary, we compiled seven of the most controversial moments and episodes from the choir that are still talking about: Theatricality: Finn and Kurt became hardly room mates when Kurt's father and Finn's mom decided to move in together. Kurt doesn't mind, but Finn isn't. He attacked Kurt with a shocking homophobic slur we never expected to hear from Finn's good guy. Shooting Star: This episode takes on the polarizing question of whether or not teachers should be allowed to be armed at school when it emerged that Coach Sue Sylvester was storing a gun, Uma Thurman, at the school to protect her from potentially armed students, or so we think... TEENAGE SEX! TEEN GAY SEX! This episode covers both of these often pearl- clutch-inducing themes. On my way in an amazing twist, former homophobe extraordinaire Dave Karofsky turns out to be gay himself. When he is outed by his classmates and cyber bullied by his football teammates, he tries to commit suicide. This episode also examines the dangers of texting and driving when quinn gets into a car accident en route to the wedding of Rachel and Finn. ChokeTrener Beiste is a victim of domestic violence in this shocking episode. Grill Cheesus Finn sees the face of Jesus in his roasted cheese episode, and kicks off an episode that deals with issues of religion and the fragility of religious faith. Cover G': Remember when everyone got scared about this Terry Richardson-shot G' cover? Images: www.missloritv.com get all the best moments in pop culture and entertainment delivered to your inbox. Get all the best moments in pop culture and entertainment delivered to your inbox. Lea Michele is best known for her role in the award-winning and hugely popular television series Glee Club. There, she played sometimes imperious, but The attractive Rachel Berry, who shows as she rises from the high school choir of the star aspiring artist trying to make it to New York City. The show debuted more than a decade ago and aired in 2015. What has the leading lady of the phenomenal show been since then? A lot! Take a closer look at her professional and personal life and what plans she has in store for fans. Lea Michele Rachel Luna /FilmMagic She overcame the tragedy in her personal life to ensure happily ever after one of the world's most tragic moments of the choir came when actor Cory Monteith died in 2013. He played Michele's longtime love interest character on the show, Finn Hudson. In real life, Monteit and Michele were a passionate couple who fans idolized and held up against their on-screen counterparts. When news of Monteyte's unexpected death hit, Michelle was hyperaware of how her actions would be scrutinized from fans who loved the couple: Now that I'm in that position, you can choose to climb, and that's what I'm going to try to do,' she told Elle Magazine. I know that Corey would like nothing more than for me to take this situation and use it to help people. I don't know if I can. While she was in mourning, Michelle pushed back some of her projects and made some space for herself to find her next steps. Eventually, she found her way into a new relationship with Sandy Reich. The couple married in March this year, and Michelle spoke about how amazing it is to be the wife of her 'best friend'. She built a successful singing career as her time at the choir came to an end, Michele began working her solo music career. She released a solo album called Louder in 2014 and another titled Places in 2017. Michelle explained that Places had a better idea of who she was and what she wanted her art to be. Louder, her first album, was muddied by the grief of losing Monteyth and struggling to untangle herself from the identity she forged as Rachel Berry: I sang 10 songs a week for a choir in the studio, from Salt N Pep to Kelly Clarkson's Celine Dion cover. When it came time for me to make my own album, I think it was a little overshadowed for me in terms of wanting to find out what my own sound was. And it was also overshadowed by the great tragedy that happened to me in the midst of the creation of this album. And you hear that in this album - you hear the darkness of what's going on in my life. I don't think there's a sequence in the record that I was hoping for, but it's life, Michele explained. The places gave her a chance to truly come into her own as an artist and portray herself in a world without the baggage of her fictional character or her real tragedy weighing her down. Now she makes another dream as she works Christmas album just in time for the holidays of 2019. Her path to health has been a great emphasis In addition to finding yourself and getting more comfortable with a voice of her own, Michelle has also been an active supporter of health and wellness. She has made her fitness and health journey a central part of her public persona and often posts on social media about taking to the streets to do hikes and get out into the fresh air. Her fitness tips are very practical and down to earth and center on the principle of being kind and supporting yourself. It's been ten years since Michelle burst into the public eye in a huge way, but the star has since worked to use the platform from her time at the choir to make a name for herself professionally and in the personal life she loves as well. Lea Michele rose to fame in the early 2010s for her role as Rachel Berry in the hit musical comedy drama series Glee. The actress' recent name made headlines for accusations that she made the experience of a fellow co-star on the chorus of live hell due to traumatic microaggressions. Here's more about the claims made against Michele and how much the actress has made of her days as one of the main actors in the award-winning series. Lea Michele Gary Gershoff/Getty Images Amid the COVID-19 pandemic and ongoing protests over George Floyd taking place across the country, Lea Michele has found herself at the centre of controversy. On June 1, the actress-singer allegedly made the first televised concert of the actress of the choir Samantha Marie Ware alive hell after Michelle intervened in the ongoing Black Lives Matter movement following the murder of George Floyd. The drama kicked off on May 30 after Michelle tweeted: George Floyd didn't deserve it. It wasn't an isolated incident, and it has to end. #BlackLivesMatter. Two days later, Ware quoted a tweeted post, taking issue with Michelle injecting herself into a conversation about how to treat others because she wasn't the most beautiful for an actress while on the show. Remember when you did my first TV concert in hell? Ware wrote. I believe you told everyone that if you had the opportunity, you wouldn't be in my wig! Among the traumatic microaggressions that made me question a career in Hollywood . LMAO REMEMBER WHEN YOU DID MY FIRST TELEVISON HELL CONCERT?!?! THE REASON THE PATIENT WILL NEVER FORGET. I BELIEVE YOU TOLD EVERYONE THAT IF TOU HAD A CHANCE YOU WOULD SHIT IN MY WIG! AMONG THE OTHER TRAUMATIC MICROAGGRESSIONS THAT MADE ME QUESTION A CAREER IN HOLLYWOOD... - SAMEYAAAAAA (@Sammie_Ware) June 2, 2020, Ware joined the cast of the choir during his final season in 2015 as Jane Hayward, a Dalton Academy student who moves to McKinley to join the new direction. Although she has appeared in only 11 episodes, the actress claims she has been on long enough to experience the abuse in the workplace that fellow Glee cast members backed her on. Glee alum Alex Newell (Unique) responded to the actress' tweet with a GIF of RuPaul looking very interested, while Amber Riley (Mercedes) tweeted a gif of herself shortly afterwards. Since Ware reacted to Michele's tweet, the star's name has been trending on Twitter on New Year's Eve, with many claiming it has been officially cancelled.
Recommended publications
  • 14. Swan Song
    LISA K. PERDIGAO 14. SWAN SONG The Art of Letting Go in Glee In its five seasons, the storylines of Glee celebrate triumph over adversity. Characters combat what they perceive to be their limitations, discovering their voices and senses of self in New Directions. Tina Cohen-Chang overcomes her shyness, Kurt Hummel embraces his individuality and sexuality, Finn Hudson discovers that his talents extend beyond the football field, Rachel Berry finds commonality with a group instead of remaining a solo artist, Mike Chang is finally allowed to sing, and Artie Abrams is able to transcend his physical disabilities through his performances.1 But perhaps where Glee most explicitly represents the theme of triumph over adversity is in the series’ evasion of death. The threat of death appears in the series, oftentimes in the form of the all too real threats present in a high school setting: car accidents (texting while driving), school shootings, bullying, and suicide. As Artie is able to escape his wheelchair to dance in an elaborate sequence, if only in a dream, the characters are able to avoid the reality of death and part of the adolescent experience and maturation into adulthood. As Trites (2000) states, “For many adolescents, trying to understand death is as much of a rite of passage as experiencing sexuality is” (p. 117). However, Glee is forced to alter its plot in season five. The season begins with a real-life crisis for the series; actor Cory Monteith’s death is a devastating loss for the actors, writers, and producers as well as the series itself.
    [Show full text]
  • Calmhsa Express Week of April 29, 2013 Extra!
    CalMHSA Express Week of April 29, 2013 Extra! Extra! CalMHSA Express Week In Review: Mental Health Month Begins this Week 17th Annual PRISM AWARDS Honor Entertainment Industry’s Accurate Portrayal of Mental Illness “In Our Own Voice” Presenters Sought for Redding and Ontario Trainings Hot News (funded by CalMHSA and Proposition 63) Mental Health Month Begins this Week: The mental health community will come together around the message “Each Mind Matters” as Mental Health Month begins May 1st. CalMHSA and its program partners will launch a number of exciting activities including: “Each Mind Matters: California’s Mental Health Movement,” a message symbolizing how California is transforming its mental health systems—from the ground up. Directing Change, a statewide high school student video contest to engage students in preventing suicide and reducing stigma, will hold a screening and award ceremony at the Crest Theater in Sacramento on May 23rd. The event will feature guest speakers from Fox’s hit TV series Glee—director Bradley Buecker and actor Max Adler, who plays “Dave Karofsky.” RSVP required: http://www.directingchange.org/award-ceremony/. Later this month, EachMindMatters.org will launch and serve as the home to CalMHSA’s SDR and educational tools, including the new PBS documentary “A New State of Mind: Ending the Stigma of Mental Illness,” which will air statewide on 13 PBS stations on May 30th. The documentary tells the stories of everyday people through their struggles, recovery and resilience in the face of mental health challenges. 17th Annual PRISM AWARDS Honor Entertainment Industry’s Accurate Portrayal of Mental Illness: More than 400 people celebrated writers, directors, producers, actors and actresses for their accurate depictions of mental health and substance abuse at the 17th Annual PRISM Awards presented by Entertainment Industries Council—a SDR program partner—on April 25th at the Beverly Hills Hotel.
    [Show full text]
  • Love Your Body
    THURSDAY INSIDE February 17, 2011 Homosexuality in News..........1-3 Fox’s “Glee.” Opinions......4-6 LIFESTYLES PG 7 Lifestyles..7-9 INDEX A closer look at Cortland’s Sports.....10-12 sign language courses. Vol. LXXXVIII No. 12 OPINIONS PG 6 State University of New York College at Cortland The Children’s Museum Celebrates Valentine’s Day Education majors help make Valentine’s Day creative and educational By Becky Greenland News Editor Red and pink paint, glitter and paper hearts covered every table at the Children’s Museum located in O’Heron Newman Hall last Saturday. Children seated in little chairs concen- trated intently, while painting hearts on window hangings and sprinkling glitter on “plates of love.” Some decorated cookies for themselves or their valen- tines, while others colored cards. The Children’s Museum, lo- cated at 8 Calvert Street, hosts events such as “Valentine’s Day Art” six or seven times a semes- ter. Students from Cortland’s Childhood and Early Childhood Education Department volun- teer their time to help faculty and staff members run the events and for a good opportunity to in- teract with the young children. Senior Amanda Mailman, an early childhood/childhood education major, said that help- ing out at these events will help her in her classroom. She said, “It’s an informal setting so we can learn about kids when they are not sitting and learn- ing. They are really creative and use their imaginations.” Senior Jo-ann Deis- inger agreed. “It gives par- photo by Becky Greenland/News Editor ents a chance to interact
    [Show full text]
  • Safira Titania Aurora Az-Zahra Sdh
    DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember DISCOURSE ANALYSIS OF AGREEMENT AND DISAGREEMENT SPEECH ACT IN THE “GLEE” TV SERIES THESIS Compiled by: Safira Titania Aurora Az-Zahra 140210401032 ENGLISH EDUCATION PROGRAM LANGUAGE AND ARTS DEPARTMENT FACULTY OF TEACHER TRAINING AND EDUCATION JEMBER UNIVERSITY 2019 DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember DISCOURSE ANALYSIS OF AGREEMENT AND DISAGREEMENT SPEECH ACT IN THE “GLEE” TV SERIES THESIS Composed to Fulfill One of the Requirements to Obtain the Degree of S1 at the English Education Program, Language and Arts Department, The Faculty of Teacher Training and Education, Jember University Compiled by: Safira Titania Aurora Az-Zahra 140210401032 ENGLISH EDUCATION PROGRAM LANGUAGE AND ARTS DEPARTMENT FACULTY OF TEACHER TRAINING AND EDUCATION JEMBER UNIVERSITY 2019 i DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember MOTTO “Learning another language is not only learning different words for the same things, but learning another way to think about things.” – Flora Lewis ii DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember DEDICATION This thesis is dedicated to the following people: 1. My beloved mum, who supported me all this time. 2. My beloved dad, who gave me a push not to give up. 3. My beloved sister, who always encouraged me to finish this thesis. Words fail to express how much I appreciate their endless love and patience. iii DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember STATEMENT OF THESIS AUTHENCITY I certify that this thesis is an original and authentic piece of work by me. Hence, all materials incorporated from secondary sources have been fully acknowledged and referenced. I certify that the content of the thesis is the result of work which has been carried out since the official commencement date of the approved thesis title.
    [Show full text]
  • RADICAL LOVE in a TIME of Heteronormativity: Radical Love in a Time of Heteronormativity: Glee, Gaga and Getting Better
    international journal of critical pedagogy RADICAL LOVE IN A TIME OF HETERONORMATIVITY: Radical Love in a time of Heteronormativity: Glee, Gaga and Getting Better Erin Brownlee DEll SaBrina BoyEr Abstract Media coverage of LGBT teen bullying and suicides portrays a national crisis. If students “read the world” (Freire, 1998, p. 76) around them, they understand a world that often does not bother to recognize their humanity, and worse, vilifies them. Freire imagines a different way, one where “progressive education. must never eradicate the learner’s sense of pride and self worth” (Freire, 2004, p. 8). At the essence of many of Freire’s writings was the idea of our collective humanity in the classroom and as we re-imagined the world together. It is here where radical love becomes a powerful force within education. In the absence of meaningful and “safe” learning spaces for queer students, we maintain that alternate curricula, those within the realm of popular culture offer possibilities of resistance to these dangerous climates. As Giroux and Simon (1988) write, “popular culture is appropriated by students and helps authorize their voices and experiences while pedagogy authorizes the voices of the adult world, the world of teachers and administrators” (p. 11). The intersection of the student and adult worlds offers a pop culture pedagogy, a tool for alternative learning and a site of resistance. This intersection reveals a significant impact on societal views, ultimately leading to advocacy and action. While there are many examples of these sites of resistance, for the purposes of this piece, we focus on three: the television series, Glee, the music and advocacy work of Lady Gaga, and the It Gets Better project.
    [Show full text]
  • HOW to WATCH TELEVISION This Page Intentionally Left Blank HOW to WATCH TELEVISION
    HOW TO WATCH TELEVISION This page intentionally left blank HOW TO WATCH TELEVISION EDITED BY ETHAN THOMPSON AND JASON MITTELL a New York University Press New York and London NEW YORK UNIVERSITY PRESS New York and London www.nyupress.org © 2013 by Ethan Thompson and Jason Mittell All rights reserved References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. Library of Congress Cataloging-in-Publication Data How to watch television / edited by Ethan Thompson and Jason Mittell. pages cm Includes bibliographical references and index. ISBN 978-0-8147-4531-1 (cl : alk. paper) — ISBN 978-0-8147-6398-8 (pb : alk. paper) 1. Television programs—United States. 2. Television programs—Social aspects—United States. 3. Television programs—Political aspects—United States. I. Thompson, Ethan, editor of compilation. II. Mittell, Jason, editor of compilation. PN1992.3.U5H79 2013 791.45'70973—dc23 2013010676 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books. Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments ix Introduction: An Owner’s Manual for Television 1 Ethan Thompson and Jason Mittell I. TV Form: Aesthetics and Style 1 Homicide: Realism 13 Bambi L. Haggins 2 House: Narrative Complexity 22 Amanda D.
    [Show full text]
  • "Straight People Are Looking at You:" Heterosexual Privilege and Homonormativity in American Visual Texts
    "Straight People Are Looking at You:" Heterosexual Privilege and Homonormativity in American Visual Texts by Nancy Blair A dissertation submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Auburn Alabama August 3, 2013 Copyright 2013 by Nancy Blair Approved by Marc Silverstein, Chair,Professor of English Jonathan Bolton, Professor of English Susana Morris, Assistant Professor of English George Plasketes, Professor of Communications and Journalism Abstract My dissertation deals with the topic of representations of gay men in such American popular texts as film, television, and mainstream theatre. I advance the argument that while the 2000s have seen a dramatic rise in the number of gay people, primarily white men, depicted in these texts, this growth has had many consequences that actually serve the interests of the heterosexual majority far more than the gay audiences that consume these texts. Gay men in popular film, television and drama are often presented either as saints, who either die or suffer profoundly in order to teach the straight audiences lessons, or as victims that need to be saved from their (often gay) oppressors. Texts that include these portrayals advocate not acceptance of sexual diversity, but tolerance, which reinforces inequality rather than challenging it. While these representations reflect straight creators and audiences' desire to both disavow and cling to the privileges they enjoy at the expense of gay people, they are also the result of gay creators and audience's insistence on "positive representations." I argue that these representations are part of the political stance theorist Lisa Duggan calls the "new homonormativity," which homogenizes gay people by shoring up the mainstream values of monogamous marriage, child-rearing, and consumerism.
    [Show full text]
  • Coming out Experiences of Queer Chicanas and Latinas and Their Representation in Television
    AN ABSTRACT OF THE THESIS OF Melissa R. Crocker for the degree of Master of Arts in Interdisciplinary Studies in Women, Gender, and Sexuality Studies, Women, Gender, and Sexuality Studies, and Contemporary Hispanic Studies presented on May 21, 2015. Title: Leaving the Closet: Coming Out Experiences of Queer Chicanas and Latinas and Their Representation in Television Abstract Approved: ________________________________________________________________________ Crystal M. Boson In the contemporary United States, the process of “coming out of the closet,” or public disclosure of one’s non-normative sexual orientation or gender identity,1 is ongoing and performative. Particularly within the context of dominant contemporary U.S. society, popular media favors a hegemonic set of defining characteristics, which thereby forces the exclusion of non-dominant identities. This thesis investigates the representations of non-heterosexual2 Latinas and their coming out in three television programs, as well as the ways that these depictions contrast with the lived experiences of women who identify as lesbian, bisexual, or queer and Latina/Chicana. Narrative analysis, which incorporates the positionality of the investigator as a central tenet of research is also integral to this project. Findings suggest that the representations in popular media bear little resemblance to the lived experiences of the women interviewed. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 “Coming out” refers to the public disclosure of one’s non-normative identity. It was initially attached to sexual orientation, but has since become a term for gender expression or any other aspect of one’s identity that challenges dominant conceptions. 2 2!“Non-heterosexual” in this context is self-explanatory, although for the duration of this thesis, I will use the term “queer” as an overarching identifier for “non-heterosexual” unless another term is specifically indicated.
    [Show full text]
  • An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee
    An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Dorsey, Jennifer M. 2016. An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee. Doctoral dissertation, Harvard Graduate School of Education. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:27112712 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA ! An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee Jennifer Dorsey Helen Haste Joseph Blatt Jal Mehta A Thesis Presented to the Faculty of the Graduate School of Education of Harvard University in Partial Fulfillment of the Requirements for the Degree of Doctor of Education 2016 ! ""!! ! ! 2016 Jennifer Dorsey All Rights Reserved ! """!! ! Abstract In this study I investigate the ways in which youth talk about difference and fictional television characters in order to better understand youth's relationship with the media and diverse others. I use the theoretical framework of constructivism and the analytic framework of Foucauldian Discourse Analysis in order to answer the following research questions: 1) What
    [Show full text]
  • States of Fandom: Community, Constituency, Public Sphere
    STATES OF FANDOM: COMMUNITY, CONSTITUENCY, PUBLIC SPHERE A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Hannah Ruth Mueller January 2017 © 2017 Hannah Ruth Mueller STATES OF FANDOM: COMMUNITY, CONSTITUENCY, PUBLIC SPHERE Hannah Mueller, Ph.D. Cornell University 2017 Approaching grassroots fan communities as political constituencies, this dissertation traces the historical development of self-organized fan groups from the 1930s to the present, focusing specifically on conceptions of community, the negotiation of public discourse, processes of decision-making, and fannish engagement with social and political issues. While fan studies scholarship previously has emphasized the relationship between text and fan, this study thus steers attention towards the relationships between fans themselves and articulates the interrelations between fan activism, transformative fan practices, and the discursive conditions within fandom. On the basis of archival and online-ethnographic research, the dissertation investigates crucial controversies in the Western literary science-fiction and fantasy community from the 1930s to the 1980s as well as in contemporary online transformative fandom to show how historical context, the demographic makeup of the fandom, fans’ use of communication technologies, and their self- conception as community influence the negotiation and resolution of internal conflicts. Drawing on different theories of community formation and the public sphere, the first chapter of the study proposes that pre-internet literary science-fiction fandom was dominated by a communitarian ideal that regulated in-/exclusion by prioritizing the community over its individual members. In contrast, transformative online fandom promotes the ideal of a non-hierarchical, inclusionary, unregulated alternative public sphere, in which the ethical principles of consensus-building have to be constantly re-negotiated.
    [Show full text]
  • Downloaded from Brill.Com09/23/2021 03:27:53PM Via Free Access L.K
    LISA K. PERDIGAO 14. SWAN SONG The Art of Letting Go in Glee In its five seasons, the storylines of Glee celebrate triumph over adversity. Characters combat what they perceive to be their limitations, discovering their voices and senses of self in New Directions. Tina Cohen-Chang overcomes her shyness, Kurt Hummel embraces his individuality and sexuality, Finn Hudson discovers that his talents extend beyond the football field, Rachel Berry finds commonality with a group instead of remaining a solo artist, Mike Chang is finally allowed to sing, and Artie Abrams is able to transcend his physical disabilities through his performances.1 But perhaps where Glee most explicitly represents the theme of triumph over adversity is in the series’ evasion of death. The threat of death appears in the series, oftentimes in the form of the all too real threats present in a high school setting: car accidents (texting while driving), school shootings, bullying, and suicide. As Artie is able to escape his wheelchair to dance in an elaborate sequence, if only in a dream, the characters are able to avoid the reality of death and part of the adolescent experience and maturation into adulthood. As Trites (2000) states, “For many adolescents, trying to understand death is as much of a rite of passage as experiencing sexuality is” (p. 117). However, Glee is forced to alter its plot in season five. The season begins with a real-life crisis for the series; actor Cory Monteith’s death is a devastating loss for the actors, writers, and producers as well as the series itself.
    [Show full text]
  • An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee
    An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Dorsey, Jennifer M. 2016. An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee. Doctoral dissertation, Harvard Graduate School of Education. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:27112712 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA ! An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee Jennifer Dorsey Helen Haste Joseph Blatt Jal Mehta A Thesis Presented to the Faculty of the Graduate School of Education of Harvard University in Partial Fulfillment of the Requirements for the Degree of Doctor of Education 2016 ! ""!! ! ! 2016 Jennifer Dorsey All Rights Reserved ! """!! ! Abstract In this study I investigate the ways in which youth talk about difference and fictional television characters in order to better understand youth's relationship with the media and diverse others. I use the theoretical framework of constructivism and the analytic framework of Foucauldian Discourse Analysis in order to answer the following research questions: 1) What
    [Show full text]