DOCSLIB.ORG

An Examination of Queen Latifah's Representations and Depictions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Examination of Queen Latifah's Representations and Depictions Breaking All the Rules: An Examination of Queen Latifah’s Representations and Depictions Associated with the Black Female Body in Film Submitted by Angelica Cooper As part of a tutorial in Cultural Studies and Psychology March 24, 2006 Chatham College Pittsburgh, Pennsylvania 1 Acknowledgement The past four years here at Chatham College has been a roller coaster ride. I would like to thank every individual who has helped me to get to where I am today; a Chatham College graduate. First and foremost I would like to thank the only Heavenly Father above, Jesus Christ. Though sometimes He pushes you to the limit, He does not give you anymore than you can handle. I would like to thank my mother Diane Cooper and my father Ricardo Cooper Sr. for raising me to be the woman I am today. You guys did a pretty good job. Thank you for all of your continued support in all of the successes and disappointments I have undergone in my past 21 years on this earth. Thank you to my Uncle Conrad Bricker and Jerry Potts. Without you two I would not have been able to make it this far here at Chatham College. I appreciate your faith and trust in my decision making and your continued support of my dreams. To all of my close friends, I must say that I would not have made it this far without your friendships. They mean the world to me more than you could ever imagine. Sister Brandee S. Walker, Sister Rochelle Butler, April Clowney Reynolds (Fwiend), and Careema Bell. To my pride, joy, and happiness my son Jaison S. Brown Jr. Everything that I do I do for you. You are my drive, my energy, and my world. No one loves you more than Mommy! To all of the professors here at Chatham College whom I have had the pleasure of knowing and privilege of being educated under. Dr. Anissa Wardi, Dr. Stephanie Valutis, Dr. Karen Dajani, Prajna Parasher, and Janet James. Thank you for sticking by my side and never accepting anything less than my best. You have been educators, providers and most importantly listeners. You have pushed me to succeed and for that I am truly grateful. Finally, to all of those dear to my heart that have climbed the Heavenly Staircase to be in the best place off Earth, I dedicate this to you: Mom Paula Cooper Beatrice J. Walker Shelley Oravik Uncle Daryl Cooper Uncle Darrell Clowney Karen Sumpter MAY YOU FOREVER REST IN PEACE. 2 Table of Contents Chapter One: History of the Black Female Body in Media…………………….…………3 The Image of the Black Female in the 19th Century…………………………..…..3 The Mammy………………………………………………………………….……5 The Black Female Body in the 20th Century………………………………..……..9 The Black Female Body in the 21st Century……………………………….…….17 Chapter Two: Queen Latifah’s Illustration of Groundbreaking Stereotypical Performances Effecting Images of the Black Female Body in Film, Television, and Music………………………………………………………………………………..……21 Film………………………………………………………………………………21 Bringing Down the House………………………………………………….……21 Chicago……………………………………………………………………..……26 Beauty Shop…………………………………………….………………………..27 Television……………………………………………….………………………..31 Fresh Prince of Bel-Air…………………………………………………………..31 Living Single……………………………………………………………………..32 Music……………………………………………………………………………..34 Ladies First……………………………………………………………………….34 U.N.I.T.Y……………………………………………………………………...…35 Chapter Three: Queen Latifah’s Participation in and/or Rupturing of Various Representations of the Black Female Body….…………………………………………..38 Glamour Interview……………………………………………………………….38 Conclusion……………………………………………………………………….39 Appendix………………………………………………………………………....46 Bibliography……………………………………………………………………..63 3 Chapter One: History of the Black Female Body in Media “The female body in the West in not a unitary sign. Rather, like a coin, it has an obverse and a reverse. On the one side, it is white, on the other, non-white or prototypically black. The two bodies cannot be separated, nor can one body be understood in isolation from the other in West’s metaphoric construction of “woman.” White is what woman is; not-white (and the stereotypes not-white gathers in) is what she had better not be (Willis/Williams 1). –Lorraine O’Grady” The image of the Black Female in the 19th Century During the slave trade, the Black female body was used as a gauge to determine which women were worthy of purchasing and which were not. In "Doers of the Word": African American Women Speakers and Writers in the North (1830-1880), Carla L. Peterson notes the conceptualization of the nineteenth-century black woman in terms of the body, "in contrast to middle-class white women whose femininity, as defined by the cult of true womanhood, cohered around notions of the self-effacing body.” The black woman's body," Peterson maintains, "was always envisioned as public and exposed" (Peterson, 20). Black women were put on display at social events and gatherings as pieces of “artwork” carefully placed to provide visual stimulation. These depictions of the Black female body stripped the Black female of her wholeness. Females were usually only partially exposed (i.e. breasts or thighs) in an attempt to further degrade the Black female image. The black female was made to feel like her body only had value where it was accentuated. The women with wide hips and ample breasts were given favor over smaller framed women. Slavery was a business and blacks were the profit of that business. Therefore, only the best could be chosen to produce offspring that would in turn become profit for that slave owner in the form of field hands.“Objectified in a manner similar to 4 that of black female slaves who stood on the auction blocks while owners and overseers described their important, salable parts, the black women whose naked bodies were displayed for whites at social functions had no presence” (Hooks 62). During the 19th century, there were few photographic images of the black female body. The images that were shown were those in which the black female was used as a sort of prop. Black females were captured often in the backdrop of a photo featuring a white female and when she appeared, she was a “Sarah”1, a servant, or a savage. “Between 1850 and 1890, French photographers were the primary producers of images of black women. Women were usually photographed nude or clothed next to a sexually evocative or nude White female” (Willis/Williams 1). There was, however, an upsurge in ethnographic photography in 1888 with the invention of the Kodak Box Camera. “Scientist Sir John Herschel (1792-1891) wrote about his experiments with the then new invention of photography. “Figures have a strange effect- fair women are transformed into Negresses” (Willis/Williams 1). Herschel is of course referring to what is now referred to as a “negative” for a photograph. Negatives always show the particular image as being much darker and features such as the eyes, and mouth remain distinguishable. Herschel’s remarks help to better identify the roots of many of the ideologies that have shaped the overall portrayal of the black female body image. In photography, although “negatives” are extremely important in the development and preservation of an image, the image itself or the “positive” is the only one that holds any true value. “Studies comparing facial structure, genitalia, and skin color of colonized Africans versus those of the Western world began in 1843 at the Anthropological 1 Term used to describe young slave girls who were kept as companions for young white girls 5 Institute of Britain and were followed by studies at the Societe d’ Anthropologie de Paris in 1859 and the National Geographic Society in 1888 (Willis/Williams 1). The shape and size of African and European skulls were compared using Phrenology and Physiognomy. These comparisons resulted in embellished findings about the differences between blacks and whites. These findings also served to perpetuate the longstanding notion that blacks are mentally inferior to whites. Popular depictions of blacks as ape or monkey-like in nature (i.e. huge lips, bulging eyes) spawned from these studies. The black female body was heavily scrutinized during slavery. Hair is an important element of the female body that represents beauty. Styles, texture, and color all define what is beautiful and attractive in a woman. Long blonde hair has been seen as pretty in relation to the white blue eyed woman. Hair with no coarseness, free of tangle, not nappy, and silky flowing demonstrates how beauty is linked to perfection, and dark nappy hair is seen as undesirable. The Mammy The Antebellum period (1784-1860) spawned a number of well-known and long debated portrayals of the black female body. The most popular and still most highly debated image is that of the Mammy2. The Mammy was an asexual black female who was usually portrayed as being voluptuous or plus-sized and usually was willing to do and say pretty much anything to appease her master. Mammies usually wet-nursed and ultimately raised the children of the master and the mistress along with taking care of the household needs of her own family. Mammies were usually considered “family” by many slave owners. This image of a sub-servant black female was one that played into the already existing 2 Appendix 1 6 inferiority of the black female. During the first several centuries, white people imposed their own definitions of blackness on African Americans with stereotypes alleging that all Africans were savages and even cannibals. By the end of the nineteenth century, society recognized a few basic stock characters with whom to identify blacks and this included the mammy, the Uncle, the Pickaninny, and the Coon. The stereotype of the Mammy was that she was the faithful, obedient, domestic servant. By loving, nurturing, and caring for her White children and family better than her own, the mammy symbolizes the dominant group’s perceptions of the ideal black female relationship to elite white male power.
Load more

Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Lecture Outlines
    CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS Lecture Outlines Lecture 1: Hip-Hop and Techno I. Hip-Hop Breaks Out (1980s–1990s) A. In the mid-1980s, rap moved into the popular mainstream. B. 1986 saw the release of the first two multiplatinum rap albums: 1. Raising Hell by Run-D.M.C. a) Number Three on Billboard’s pop albums chart b) Over three million copies sold 2. Licensed to Ill by the Beastie Boys a) Number One for seven weeks b) Over seven million copies sold 3. Expansion of the audience for hip-hop music was the key to the commercial success of these albums. a) Included millions of young white fans, attracted by the rebelliousness of the genre C. Both Raising Hell and Licensed to Ill were released on a new independent label called Def Jam. CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS 1. Co-founded in 1984 by the hip-hop promoter Russell Simmons and the musician-producer Rick Rubin 2. Cross-promoting a new generation of artists 3. Expanding and diversifying the national audience for hip-hop 4. In 1986, Def Jam became the first rap-oriented independent label to sign a distribution deal with one of the “Big Five” record companies, Columbia Records. D. Run-D.M.C. 1. Trio: a) MCs Run (Joseph Simmons, b. 1964) and D.M.C. (Darryl McDaniels, b. 1964) b) DJ Jam Master Jay (Jason Mizell, b. 1965) 2. Adidas Corporation and Run-D.M.C.
    [Show full text]
  • Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance.
    [Show full text]
  • Celebrity and Race in Obama's America. London
    Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies.
    [Show full text]
  • The Symbolic Annihilation of the Black Woman in Rap Videos: a Content Analysis
    The Symbolic Annihilation of the Black Woman in Rap Videos: A Content Analysis Item Type text; Electronic Thesis Authors Manriquez, Candace Lynn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 03:10:19 Link to Item http://hdl.handle.net/10150/624121 THE SYMBOLIC ANNIHILATION OF THE BLACK WOMAN IN RAP VIDEOS: A CONTENT ANALYSIS by Candace L. Manriquez ____________________________ Copyright © Candace L. Manriquez 2017 A Thesis Submitted to the Faculty of the DEPARTMENT OF COMMUNICATION In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 Running head: THE SYMBOLIC ANNIHILATION OF THE BLACK WOMAN 2 STATEMENT BY AUTHOR The thesis titled The Symbolic Annihilation of the Black Woman: A Content Analysis prepared by Candace Manriquez has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Mammy Figure
    Mammy: A Century of Race, Gender, and Southern Memory Kimberly Wallace-Sanders http://www.press.umich.edu/titleDetailDesc.do?id=170676 The University of Michigan Press INTRODUCTION The “Mammi‹cation” of the Nation: Mammy and the American Imagination Nostalgia is best de‹ned as a yearning for that which we know we have destroyed. —david blight The various incarnations of the mammy ‹gure have had a profound in›uence on American culture. There is virtually no medium that has not paid homage to the mammy in some form or another. In his series “Ameri- can Myths,”for example, artist Andy Warhol included both the mammy and Aunt Jemima, along with Howdy Doody, Uncle Sam, Dracula, and the Wicked Witch of the West (‹gs. 1 and 2).1 In the late 1980s, Italian pho- tographer Olivero Toscani created an advertisement for Benetton featuring a close-up of a white infant nursing at the breast of a headless, dark- skinned black woman wearing a red Shetland sweater (‹g. 3). The adver- tisement was met with unbridled criticism from African Americans, yet it won more advertising awards than any other image in Benetton’s advertis- ing history.2 Today, tourists visiting Lancaster, Kentucky, can tour the for- mer slave plantation of Governor William Owsley, ironically called Pleas- ant Retreat. The restored home features many remnants of the Old South, including a “charming mammy bench,” a combination rocking chair and cradle designed to allow mammies to nurse an infant and rock an additional baby at the same time.3 Diminutive mammy “nipple dolls” made in the 1920s from rubber bottle nipples with tiny white baby dolls cradled in their arms are both a “well-kept secret”and an excellent investment by collectors of southern Americana (‹g.
    [Show full text]
  • The Portrayal of African American Women in Hip-Hop Videos
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything.
    [Show full text]
  • This Fall, BET Offers Hard-Working Americans the Chance to 'PAY IT OFF'
    This Fall, BET Offers Hard-Working Americans the Chance to 'PAY IT OFF' New Innovative Game Show, Hosted by Actress/Comedienne Kim Coles, Gives Contestants the Opportunity to Pay Off Their Debts PASADENA, Calif., July 30 -- In these tough economic times, wouldn't it be nice to get out of the red and on the path to financial freedom? Everyone is looking for some relief, especially debt relief. This fall, BET introduces groundbreaking new game show PAY IT OFF, which gives contestants the chance to change their lives and pay off mounting debt. Hosted by actress/comedienne Kim Coles, the one-hour show premieres Wednesday, September 30, at 10:00 p.m.* (Logo: http://www.newscom.com/cgi-bin/prnh/20070716/BETNETWORKSLOGO) PAY IT OFF is the first game show of its kind specifically aimed at helping individuals defray their bills and debts - one expense at a time. While most game shows focus primarily on the mechanics of the game play, PAY IT OFF focuses on the personal debt dilemmas of everyday people. This unique game show is divided into five rounds with increasing levels of difficulty within each round. As the game play progresses, the contestant has a chance to win more money to pay towards his/her debt. If the contestant makes it successfully through all five rounds, he/she then has the chance to earn $25,000 in the final bonus round! "Everything I have done in my career has led me to this point, and the opportunity to be the first African-American female game show host on primetime television is amazing; how could I say no? PAY IT OFF is timely, exciting and wonderful, and I'm glad I get to be the one handing out the cash to people in need," said host Kim Coles.
    [Show full text]
  • Word Search 'Crisis on Infinite Earths'
    Visit Our Showroom To Find The Perfect Lift Bed For You! December 6 - 12, 2019 2 x 2" ad 300 N Beaton St | Corsicana | 903-874-82852 x 2" ad M-F 9am-5:30pm | Sat 9am-4pm milesfurniturecompany.com FREE DELIVERY IN LOCAL AREA WA-00114341 V A H W Q A R C F E B M R A L Your Key 2 x 3" ad O R F E I G L F I M O E W L E N A B K N F Y R L E T A T N O To Buying S G Y E V I J I M A Y N E T X and Selling! 2 x 3.5" ad U I H T A N G E L E S G O B E P S Y T O L O N Y W A L F Z A T O B R P E S D A H L E S E R E N S G L Y U S H A N E T B O M X R T E R F H V I K T A F N Z A M O E N N I G L F M Y R I E J Y B L A V P H E L I E T S G F M O Y E V S E Y J C B Z T A R U N R O R E D V I A E A H U V O I L A T T R L O H Z R A A R F Y I M L E A B X I P O M “The L Word: Generation Q” on Showtime Bargain Box (Words in parentheses not in puzzle) Bette (Porter) (Jennifer) Beals Revival Place your classified ‘Crisis on Infinite Earths’ Classified Merchandise Specials Solution on page 13 Shane (McCutcheon) (Katherine) Moennig (Ten Years) Later ad in the Waxahachie Daily Light, Midlothian Mirror and Ellis Merchandise High-End 2 x 3" ad Alice (Pieszecki) (Leisha) Hailey (Los) Angeles 1 x 4" ad (Sarah) Finley (Jacqueline) Toboni Mayoral (Campaign) County Trading Post! brings back past versions of superheroes Deal Merchandise Word Search Micah (Lee) (Leo) Sheng Friendships Call (972) 937-3310 Run a single item Run a single item Brandon Routh stars in The CW’s crossover saga priced at $50-$300 priced at $301-$600 “Crisis on Infinite Earths,” which starts Sunday on “Supergirl.” for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily2 x Light, 3.5" ad Midlothian Mirror and Ellis County Trading Post and online at waxahachietx.com All specials are pre-paid.
    [Show full text]
  • Congratulations to Marla Gibbs for Her Star Unveiled Later Today on The
    Congratulations to Marla Gibbs for Her Star Unveiled Later Today on the Hollywood Walk of Fame But Hollywood Chamber Continues to "Pass Over" the Installation of the Star Awarded to "Thanks for the Memory" Lyricist 31 Years Ago Yet Never Installed SHERMAN OAKS, CA / ACCESSWIRE / July 20, 2021 / Leo Robin Music congratulates actress Marla Gibbs, who will have her star on the Hollywood Walk of Fame unveiled at a ceremony later this morning. She is probably best known for her role as the sassy maid Florence Johnston on "The Jeffersons." She is an honoree from the Hollywood Walk of Fame Class of 2021 and was awarded the star in the television category. Each year, Leo Robin Music awaits with great interest the release of the annual announcement by the Hollywood Chamber of the new class of honorees to have their stars unveiled and installed on the Hollywood Walk of Fame to see if the star awarded to lyricist Leo Robin 31 years ago but never installed finally appears on this list. For Leo Robin, this annual ritual is known as 'Pass Over.' Charlie Parker performing "f I Should Lose You," composed by Ralph Rainger with lyrics by Leo Robin, on his Charlie Parker With Strings album in 1949 and Marla Gibbs singing "Easy Living," composed by Ralph Rainger with lyrics by Leo Robin, in the style of Billie Holiday on the NBC sitcom 227 episode entitled "Blues" The contributions Leo Robin has made to The Great American Songbook are celebrated time and again with contemporary covers by artists including regularly by those appearing on the annual list of honorees.
    [Show full text]
  • An Analysis of the Media Portrayals of Single Black Women Breonna Tindall
    Ursidae: The Undergraduate Research Journal at the University of Northern Colorado Volume 2 Article 9 Number 2 McNair Special Issue January 2012 Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black Women BreOnna Tindall Follow this and additional works at: http://digscholarship.unco.edu/urj Part of the Social and Behavioral Sciences Commons Recommended Citation Tindall, BreOnna (2012) "Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black Women," Ursidae: The Undergraduate Research Journal at the University of Northern Colorado: Vol. 2 : No. 2 , Article 9. Available at: http://digscholarship.unco.edu/urj/vol2/iss2/9 This Article is brought to you for free and open access by Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Ursidae: The ndeU rgraduate Research Journal at the University of Northern Colorado by an authorized editor of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Tindall: Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black WomenWhere is the Black Barbie? Where is the Black Barbie? An Analysis of the Media Portrayals of Single Black Women BreOnna Tindall Mentor: Patricia Jolly, M.A., Anthropology Abstract: This study focuses on the messages that Black women receive about singleness and their ability to maintain a healthy relationship with a Black man from movies that are distributed by mainstream media outlets as well as the implications those messages have on formation of potential relationships. This project analyzes the depictions of Black women in two blockbuster movies and explicates the messages of each character.
    [Show full text]