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Star Channels, April 19-25, 2020
APRIL 19 - 25, 2020 staradvertiser.com LOWKEY AMAZING HBO’s acclaimed dramedy Insecure kicked off its fourth season last week, and fans are eager to see more from its powerful leading ladies, Issa (Issa Rae) and Molly (Yvonne Orji), who have been through a veritable plague of drama over the past three years. Airing Sunday, April 19, on HBO. ¶Olelo has gone mobile. Watch everything from local events to live coverage of the State Legislature, anytime, anywhere. Download the Ҋũe^ehFh[be^:iibgma^:iiLmhk^hk@hh`e^IeZr' olelo.org 590198_MobileApp_2.indd 1 3/5/20 1:15 PM ON THE COVER | INSECURE No man, no job, no problem ‘Insecure’ comes through to believe the current installment of the garner further attention and receive Golden “Insecure” saga will be anything but lowkey. Globe or Emmy nominations? Let’s slow in uncertain times The 10-episode season focuses on re- down and look at the tangibles before get- turning main characters, Issa (Issa Rae, ting too carried away with the questions. By Dana Simpson “The Misadventures of Awkward Black For starters, Issa is without a job and with- TV Media Girl”) and her best friend, Molly (Yvonne out a man — a situation that may be haunt- Orji, “Nightschool,” 2018), who have been ingly relatable for any single person tem- earing up for another year of turmoil through, well, let’s face it, a veritable plague porarily out of work during these strange and wit after a year-and-a-half-long of drama over the past three years. From times of social isolation. -
THE TUFTS DAILY Tufts Dining Workers and Students Are Pictured Marching in the ‘Picket for a Fair Dining Contract’ on March 5
WOMEN’S LACROSSE Work-study students discuss pressures, commitments see FEATURES / PAGE 4 Jumbos put on offensive clinic in win over Continentals A call for trustee transparency SEE SPORTS/BACK PAGE see OPINION/ PAGE 10 THE INDEPENDENT STUDENT NEWSPAPER OF TUFTS UNIVERSITY EST. 1980 HE UFTS AILY VOLUME LXXVII, ISSUE 30T T D MEDFORD/SOMERVILLE, MASS. WEDNESDAY, MARCH 6, 2019 tuftsdaily.com More than 800 people attend picket for dining workers, strike vote set for March 14 KYLE LUI / THE TUFTS DAILY Tufts Dining workers and students are pictured marching in the ‘Picket for a Fair Dining Contract’ on March 5. by Alexander Thompson “Tufts University can afford for one job He said the university hopes to resolve the situ- Trisha O’Brien, a dining services atten- Assistant News Editor to be enough for all workers. It was never ation as soon as possible. dant at Kindlevan Café who held the banner a question of affordability, it’s a question of The dining workers first began their negoti- at the head of the procession as it moved to In a dramatic development in their sev- respect for human dignity,” Lang told the ations with Tufts in August 2018. Dewick-MacPhie Dining Center, said that she en-month campaign for a contract with crowd through a megaphone. “This admin- In an email to the Daily after the latest would vote for the the strike because she the university, Tufts Dining workers will istration is getting increasingly isolated on round of negotiations on Feb. 27, Mike Kramer, thinks negotiations are not going well, and a vote on whether to go on strike on March this campus and in the communities around the lead negotiator for UNITE HERE Local 26, strike is necessary in order for the workers to 14, according to UNITE HERE Local 26 this campus.” wrote that the sticking points were key eco- secure a fair contract. -
Quest Magazine Volume 17 Issue 19
'RQ·W /RVH 6OHHS 2YHU ,W *HW 7HVWHG ,W·V )UHH $W QR FRVW WR \RX ZH SURYLGH U -/ ÌiÃÌ} >` ÌÀi>ÌiÌ vÀ i° U i«>ÌÌÃ E 6>VV>ÌÃ vÀ }>Þ À LÃiÝÕ> i° U i«>ÌÌÃ 6>VV>ÌÃ vÀ ÃÌÀ>} Ì i >` Üi° U ÞÕÃ À >i >ÃÃV>Ìi` 6 ÌiÃÌ} >` VÕÃi}° +RXUV 0RQGD\V 7XHVGD\V SP SP :DQQD SOD\ 'RFWRU" 1XUVH" 0D\EH 3KOHERWRPLVW" :H DUH ORRNLQJ IRU OLFHQVHG PHGLFDO VWDII YROXQWHHUV WR DGPLQLVWHU YDFFLQDWLRQV EORRG GUDZV DQG ZRUN LQ RXU 67' FOLQLF (DVW %UDG\ 6W 0LOZ FRQWDFWXV#EHVWGRUJ GREEN BAY COUNCIL POSTPONES RESOLUTION TO JOIN DP SUIT by Bruce McKay At a council meeting in October, Sortwell in - Green Bay - Just 24 hours after the polls had sisted that City Hall needed to contribute attorneys closed on Election Day, the first fruit of Wisconsin's to battle what he sees as an ongoing moral war. steer to the political right blossomed at Green Bay "The people of Green Bay want marriage to only City Hall. The City Council voted to indefinitely consist of one man and one woman. This is a di - postpone a proposed resolution to join a lawsuit rection violation of what the people want." He told against Wisconsin's Domestic Partners laws. the Council that he'd spoken with the plaintiffs and The alderman who wanted the council to en - that they'd welcome the free legal aid. dorse a lawsuit to overturn the state's DP benefits The staff attorney for the council told Sortwell said the election results had changed his mind. -
The History and Representation of Drag in Popular Culture; How We Got to Rupaul
MASARYK UNIVERSITY FACULTY OF ARTS The History and Representation of Drag in Popular Culture; How We Got to RuPaul Bachelor's thesis MICHAELA SEVEROVÄ Supervisor: Jeffrey Alan Vanderziel, B.A. Department of English and American Studies English Language and Literature Brno 2021 MUNI ARTS THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Bibliographic record Author: Michaela Severovä Faculty of Arts Masaryk University Title of Thesis: The History and Representation of Drag in Popular Culture; How We Got to RuPaul Degree Program: English Language and Literature Supervisor: Jeffrey Alan Vanderziel, B.A. Year: 2021 Number of Pages: 72 Keywords: drag queens, RuPauVs Drag Race, drag, LGBTQ+, representation, queer culture, sexuality 2 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Abstract This bachelor thesis deals with drag and its representation in popular culture, focus• ing on RuPaul's Drag Race. It analyses the representation of drag by explaining some basic terms and the study of the history of drag. It then analyses the evolution of the representation of drag queens in movies and shows. The main focus of this thesis is the American TV show RuPaul's Drag Race and how it changed the portrayal of drag and the LGBTQ+ community in popular culture. The thesis questions if the show is as progressive and diverse as it proclaims to be and if it shows the authentic image of drag culture. 3 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Declaration I hereby declare that this thesis with title The History and Representation of Drag in Popular Culture; How We Got to RuPaul I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my thesis. -
Calling All the Queens! Visibilidades De Gênero No Programa De TV Rupaul’S Drag Race1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XVII Congresso de Ciências da Comunicação na Região Nordeste – Natal/RN – 02 a 05/07/2015 Calling All The Queens! Visibilidades de gênero no programa de TV RuPaul’s Drag Race1 Joseylson Fagner dos SANTOS2 Universidade do Estado do Rio Grande do Norte (UERN), Mossoró, RN Resumo: O presente artigo se propõe a discutir a visibilidade de indivíduos e identidades drag queen a partir da veiculação de RuPaul’s Drag Race, programa de televisão transmitido em canal por assinatura no território norte-americano. O texto faz parte de um estudo preliminar a respeito das aproximações culturais entre a cena estadunidense e a brasileira, pela qual circulam referências sobre personagens e experiências drag queen. Para tanto, faz uma análise qualitativa de duas temporadas (2013 e 2014) do programa e suas principais articulações sobre as questões de gênero e identidade sexual que fundamentam a posterior análise e discussão de outros experimentos no Brasil. A reflexão iniciada aqui é pautada pela reflexão sobre como as referências apresentadas no programa permitem articular elementos como a visibilidade social dessas personagens na cena LGBT, e a articulação de questões de gênero e das sexualidades na difusão em meios de comunicação de massa. Palavras-chave: drag queen; papéis de gênero; comunicação de massa; televisão; RuPaul’s Drag Race. INTRODUÇÃO Who do you think you are? I'm telling the truth now We're all born naked And the rest is drag — RuPaul Presença irreverente e icônica na cena LGBT norte-americana desde a metade dos anos 1980, a figura andrógina de RuPaul Andre Charles – que posteriormente ficou conhecida apenas por RuPaul – tornou-se um fenômeno de mídia após surgir como drag queen3 nos meios de comunicação de massa dos Estados Unidos como ator, cantor e diretor numa variedade de filmes, programas de rádio e de TV, propagandas, eventos sociais e casas noturnas, além dos videoclipes musicais para promover álbuns gravados como cantora. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Reading RuPaul's Drag Race: Queer Memory, Camp Capitalism, and RuPaul's Drag Empire Permalink https://escholarship.org/uc/item/0245q9h9 Author Schottmiller, Carl Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Carl Douglas Schottmiller 2017 © Copyright by Carl Douglas Schottmiller 2017 ABSTRACT OF THE DISSERTATION Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire by Carl Douglas Schottmiller Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor David H Gere, Chair This dissertation undertakes an interdisciplinary study of the competitive reality television show RuPaul’s Drag Race, drawing upon approaches and perspectives from LGBT Studies, Media Studies, Gender Studies, Cultural Studies, and Performance Studies. Hosted by veteran drag performer RuPaul, Drag Race features drag queen entertainers vying for the title of “America’s Next Drag Superstar.” Since premiering in 2009, the show has become a queer cultural phenomenon that successfully commodifies and markets Camp and drag performance to television audiences at heretofore unprecedented levels. Over its nine seasons, the show has provided more than 100 drag queen artists with a platform to showcase their talents, and the Drag Race franchise has expanded to include multiple television series and interactive live events. The RuPaul’s Drag Race phenomenon provides researchers with invaluable opportunities not only to consider the function of drag in the 21st Century, but also to explore the cultural and economic ramifications of this reality television franchise. -
“You Better Work:” the Commodification of HIV in Rupaul's
Hunter Hargraves “You Better Work:” The Commodification of HIV in RuPaul’s Drag Race In a 2010 episode of Comedy Central’s South Park (1994), set in San Francisco, these excesses quite in which the residents of South Park combat an literally manifest themselves in the controversy and army of New Jersey emigrants, a town hall meeting media coverage of the season’s principle character, prominently displays a map of the United States Pedro Zamora, who succumbed to HIV-related in which a majority of the nation east of Colorado progressive multifocal leukoencephalitis the day has become subsumed into New Jersey’s borders.1 after the season’s final episode aired. Zamora, Through its intertextual references to programs arguably the first reality TV celebrity, unabashedly such as MTV’s Jersey Shore and Bravo’s The Real used the medium as a platform for educating the Housewives of New Jersey, the South Park episode, in public about the experience of living with HIV. its typical parodic fashion, exaggerates stereotypical Bounded by these themes of excess, celebrity, and Italian-American culture – from gelled hair and stereotype, the unusual confluence between reality grotesquely tanned skin to constant swearing and television and discourses surrounding the HIV/ a short temperament – while constructing it as a AIDS epidemic continued into the competitive threat to the nation’s cultural purity. One cannot gamedoc sub-genre of reality programming in the escape, however, the episode’s underlying message: early 2000s. HIV-positive contestants have since the real contaminant is not New Jersey, but rather appeared on American and European television the excess of reality TV. -
UNIVERSITY of CALIFORNIA Los Angeles Reading Rupaul's Drag Race
UNIVERSITY OF CALIFORNIA Los Angeles Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Carl Douglas Schottmiller 2017 © Copyright by Carl Douglas Schottmiller 2017 ABSTRACT OF THE DISSERTATION Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire by Carl Douglas Schottmiller Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor David H Gere, Chair This dissertation undertakes an interdisciplinary study of the competitive reality television show RuPaul’s Drag Race, drawing upon approaches and perspectives from LGBT Studies, Media Studies, Gender Studies, Cultural Studies, and Performance Studies. Hosted by veteran drag performer RuPaul, Drag Race features drag queen entertainers vying for the title of “America’s Next Drag Superstar.” Since premiering in 2009, the show has become a queer cultural phenomenon that successfully commodifies and markets Camp and drag performance to television audiences at heretofore unprecedented levels. Over its nine seasons, the show has provided more than 100 drag queen artists with a platform to showcase their talents, and the Drag Race franchise has expanded to include multiple television series and interactive live events. The RuPaul’s Drag Race phenomenon provides researchers with invaluable opportunities not only to consider the function of drag in the 21st Century, but also to explore the cultural and economic ramifications of this reality television franchise. ii While most scholars analyze RuPaul’s Drag Race primarily through content analysis of the aired television episodes, this dissertation combines content analysis with ethnography in order to connect the television show to tangible practices among fans and effects within drag communities. -
Realness Over Reality: Analyzing Gender Binary Deconstruction in Rupaul's Drag Race
Bowling Green State University ScholarWorks@BGSU Ray Browne Conference on Cultural and Critical Studies 2018: Borders and Borderlands Apr 7th, 3:00 PM - 3:50 PM Realness Over Reality: Analyzing Gender Binary Deconstruction in RuPaul’s Drag Race Jonah Wilson Bowling Green State University, [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/rbc Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Other Film and Media Studies Commons Wilson, Jonah, "Realness Over Reality: Analyzing Gender Binary Deconstruction in RuPaul’s Drag Race" (2018). Ray Browne Conference on Cultural and Critical Studies. 6. https://scholarworks.bgsu.edu/rbc/2018conference/011/6 This Event is brought to you for free and open access by the Conferences and Events at ScholarWorks@BGSU. It has been accepted for inclusion in Ray Browne Conference on Cultural and Critical Studies by an authorized administrator of ScholarWorks@BGSU. Wilson 1 Jo Wilson Ray Browne Popular Culture Conference, Spring 2018 Realness over Reality: Analyzing Gender Binary Deconstruction in RuPaul’s Drag Race Following the 2008 elections: twenty-nine out of fifty U.S. states legalized same-sex marriage (Liu), Stu Rasmussen, the first openly transgender mayor was elected in the country (Wong), and then-President Barack Obama appointed the first openly transgender woman to a cabinet position (Riley). After talking to producers beginning in 1998, RuPaul Charles premiered his namesake reality show, RuPaul’s Drag Race (RPDR) in 2009 (Daems 14). The show, with the potential to break down barriers of gender expression and sexuality, has had a fair share of controversies—particularly surrounding transphobia and misogyny. -
The History and Representation of Drag in Popular Culture; How We Got to Rupaul
FACULTY OF ARTS The History and Representation of Drag in Popular Culture; How We Got to RuPaul Bachelor's thesis MICHAELA SEVEROVÁ Supervisor: Jeffrey Alan Vanderziel, B.A. Department of English and American Studies English Language and Literature Brno 2021 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Bibliographic record Author: Michaela Severová Faculty of Arts Masaryk University Title of Thesis: The History and Representation of Drag in Popular Culture; How We Got to RuPaul Degree Program: English Language and Literature Supervisor: Jeffrey Alan Vanderziel, B.A. Year: 2021 Number of Pages: 72 Keywords: drag queens, RuPaul´s Drag Race, drag, LGBTQ+, representation, queer culture, sexuality 2 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Abstract This bachelor thesis deals with drag and its representation in popular culture, focus- ing on RuPaul´s Drag Race. It analyses the representation of drag by explaining some basic terms and the study of the history of drag. It then analyses the evolution of the representation of drag queens in movies and shows. The main focus of this thesis is the American TV show RuPaul´s Drag Race and how it changed the portrayal of drag and the LGBTQ+ community in popular culture. The thesis questions if the show is as progressive and diverse as it proclaims to be and if it shows the authentic image of drag culture. 3 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Declaration I hereby declare that this thesis with title The History and Representation of Drag in Popular Culture; How We Got to RuPaul I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my thesis. -
Performing Arts Guide 2019
Performing Arts Guide 2019 PRIDESOURCE.COM SEPT. 5, 2019 | VOL. 2736 | FREE VOL. 2736 • SEPT. 5 2019 ISSUE 1122 PRIDE SOURCE MEDIA GROUP 20222 Farmington Rd., Livonia, Michigan 48152 Phone 734.293.7200 PUBLISHERS Susan Horowitz & Jan Stevenson EDITORIAL 14 Editor in Chief Susan Horowitz, 734.293.7200 x 102 [email protected] Entertainment Editor Chris Azzopardi, 734.293.7200 x 106 [email protected] News & Feature Editor Eve Kucharski, 734.293.7200 x 105 [email protected] 36 42 News & Feature Writers Michelle Brown, Ellen Knoppow, Jason A. Michael, Drew Howard, Jonathan Thurston CREATIVE Webmaster & MIS Director Kevin Bryant, [email protected] Columnists Charles Alexander, Michelle E. Brown, Mikey Rox, D’Anne Witkowski, Gwendolyn Ann Smith, Dana Rudolph Cartoonists Paul Berg Contributing Photographers Andrew Potter, Andrew Cohen, Roxanne Frith, Tih Penfil ADVERTISING & SALES Director of Sales 24 12 Jan Stevenson, 734.293.7200 x 101 [email protected] NEWS APPLAUSE Sales Representatives Ann Cox, 734.293.7200 x 103 8 Michael Rowady Opens Up About His Passt and 24 Michael Fabiano ‘Out of This World’ [email protected] Equality Michigan’s Future 29 - 32 Applause Shorts National Advertising Representative 9 A Look at Equality Michigan’s Fall Reception Rivendell Media, 212.242.6863 34 Accidentally Perfect: Artist Pronoun Talks MEMBER OF 10 Faith-Based Adoption Agency Sues After AG Inspiration for Latest Album Michigan Press Assoication Nessel’s Pro-LGBTQ Settlement National LGBT Media Association 36 Firsts, -
Warren Hastings Capstone Andrae Alexander 1 May 2020 Final
Warren Hastings Capstone Andrae Alexander 1 May 2020 Final Capstone Summary Drag: Live Event’s Emerging Juggernaut GE/Music Elective 4 Units, satisfies A&G GEs Learning Objectives (15 weeks) 1. 1.1: Understanding what drag is and where it comes from. a. Queer Theory b. Drag Queens vs. Transgender Women c. Origins of drag i. 80s ballroom culture in NYC ii. Paris is burning 2. 1.2: Iconic Drag figures and drag media a. Divine b. RuPaul c. the desert movie drag queen d. look up more examples 3. 1.3: How drag has recently broken through into the mainstream a. RuPaul’s Drag Race / rise of reality television b. gay rights movement c. commodication of queer identity d. the rise of MUA and makeup e. screening of one episode of rupaul’s drag race i. ensure that the class has an understanding of what drag race is ii. fun 4. 1.4: Understanding the drag beyond rupaul a. what is the drag scene like b. Bring a drag queen to class c. the daily life of a touring drag queen d. understanding, in-depth, the rigor of a drag performers life e. homework i. go to a drag show 5. (split over 2 weeks)Market potential a. DragCon: 9million dollars, 40,000 attendees b. Various successful drag queen tours i. del rio wembley ii. trixie c. Instagram success i. millions of followers d. Youtube success i. Trixie Mattel & Katya, Review with a jew e. queens make thousands of dollars per gig, specialty gig f. makeup brands i. trixie cosmetics g.