AANR-Western Region: State and Local Nudity Laws (Last Updated January, 2017)
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Hot Or Not.Pdf
PSYCHOLOGICAL SCIENCE Research Article If I’m Not Hot, Are You Hot or Not? Physical-Attractiveness Evaluations and Dating Preferences as a Function of One’s Own Attractiveness Leonard Lee,1 George Loewenstein,2 Dan Ariely,3 James Hong,4 and Jim Young4 1Columbia University, 2Carnegie Mellon University, 3Duke University, and 4HOTorNOT.com, San Francisco, California ABSTRACT—Prior research has established that people’s Such attractiveness matching can potentially be explained own physical attractiveness affects their selection of by various theories, including evolutionary theories, which posit romantic partners. This article provides further support that assortative mating maximizes gene replication and in- for this effect and also examines a different, yet related, creases fitness (Thiessen & Gregg, 1980); equity theory, which question: When less attractive people accept less attractive proposes that a relationship built on attribute matching could dates, do they persuade themselves that the people they be perceived to be more equitable and satisfactory than a choose to date are more physically attractive than others relationship that involves a mismatch of personal attributes perceive them to be? Our analysis of data from the pop- (Walster, Walster, & Berscheid, 1978); market theories, which ular Web site HOTorNOT.com suggests that this is not the indicate that attractive people seek one another as mates, case: Less attractive people do not delude themselves into leaving the less attractive people to choose among themselves thinking that their dates are more physically attractive (Hitsch, Hortacsu, & Ariely, 2006; Kalick & Hamilton, 1986); than others perceive them to be. Furthermore, the results and parental-image theories, which claim that people are at- also show that males, compared with females, are less tracted to others who resemble their parents and thus indirectly affected by their own attractiveness when choosing whom themselves (Epstein & Guttman, 1984). -
Naturist Cuba: So Close, Or So Far Away
South Florida Free Beaches Florida Naturist Association Autumn 2006 Oct–Dec Vol. 6 – No. 4 www.sffb.com NATURIST CUBA: SO CLOSE, OR SO FAR AWAY... Ninety miles from Florida, and officially out-of-bounds for most U.S. citizens, Cuba gives a warm welcome to naturist tourists from Canada, Europe, and South America. story on page 4 2 The SunDial A Quarterly Journal of Florida Naturism Online version/advertiser information & rates: www.sffb.com/sundial.html Email: [email protected] Phone: 305-893-8838 Fax: 305-893-8823 Editor: Michael Kush SUN CLUB Printer: SFFB’s Naturist Social Group Thompson Press, Inc. (offset lithography) 16201 NW 54th Avenue, Miami, FL 33014 View currently planned open public events 305-625-8800 Sign up for Evite event announcements Publisher: of member-only events & parties www.sffb.com/sunclub [case sensitive] Phone inquiries: 954-961-2908 Get ready for The Naturist Society Florida Naturist Association, Inc. 2007 Naturist Gatherings & Festivals PO Box 530306, Miami Shores, FL 33153 Incorporated 1980 – Creators & mentors of Haulover Info at: www.naturistsociety.com Park’s clothing-optional naturist family beach— Dedicated to preserving and protecting free beaches The first event is the annual and naturist rights in Florida. Mid-Winter Naturist Festival Website: www.sffb.com at Sunsport Gardens Naturist Resort SFFB/FNA Officers, Directors & Beach Ambassadors: Loxahatchee (Palm Beach) Richard Mason, President & Treasurer pro temp Norma Mitchell, Vice-president President’s Day Weekend – February David Baum, Secretary [open office], Treasurer Info at: www.sunsportgarden.com SFFB/FNA Directors & Beach Ambassadors: Justin Hopkins – Paul Friderich, Jr. Join hundreds of naturists from across the USA Clyde Lott for an extended weekend of fellowship, sport, SFFB/FNA Beach Ambassadors: entertainment, and workshops on naturism, Annette Almanza – Marianna Biondi – Bruce Frendahl health, healing, spirituality, relationships Michael Kush – Norman “Doc” McClesky and a multitude of other topics. -
Dallas Striptease 1946-1960 A
FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 A Thesis by KELLY CLAYTON Submitted to the Graduate School of Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 A Thesis by KELLY CLAYTON Approved by: Advisor: Jessica Brannon-Wranosky Committee: Sharon Kowalsky Andrew Baker Head of Department: Sharon Kowalsky Dean of the College: William Kuracina Dean of the Graduate School: Matthew A. Wood iii Copyright © 2019 Kelly Clayton iv ABSTRACT FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 Kelly Clayton, MA Texas A&M University-Commerce, 2019 Advisor: Jessica Brannon-Wranosky PhD The entertainment landscape of post-World War II Dallas, Texas included striptease in different types of venues. Travelling and local striptease acts performed at the city’s annual fair and in several nightclubs in the city. In the late 1940s, the fair featured striptease as the headlining act, and one of the city’s newspapers, the Dallas Morning News, described the dancers as the most popular attraction of the largest fair in the United States. Further, the newspaper reporting congratulated the men who ran the fair for providing Texans with these popular entertainment options. The dancers who performed at the fair also showcased their talents at area nightclubs to mixed gender audiences. Dallas welcomed striptease as an acceptable form of entertainment. However, in the early 1950s, the tone and tenor of the striptease coverage changed. The State Fair of Texas executives decried striptease as “soiled” and low-class. Dancers performed in nightclubs, but the newspaper began to report on one particular entertainer, Candy Barr, and her many tangles with law enforcement. -
2. What Type of Sex Offender Is Most Likely to Recommit Their Crimes? Incest Offenders, Rapists, Or Pedophiles?
UK Center for Research on Violence Against Women A key mission of the Center for Research on Violence Against Women is to ensure that the findings of quality research make it into the hands of advocates. This translation of research to practice ensures that science has an impact on the lives of women and children. In 2010 the Center for Research on Violence Against Women conducted a survey with over 100 rape crisis and domestic violence advocates in Kentucky about what they needed to know from research to help them do their jobs. Advocates identified ten top issues. A series of ten briefs were prepared by the Center to answer the Top Ten Things Advocates Need to Know. Top ten things advocates need to know 1. What services do survivors of rape find most helpful, and what help do they say they need? 2. What type of sex offender is most likely to recommit their crimes? Incest offenders, rapists, or pedophiles? 3. What mental health issues are caused by experiencing intimate partner violence or sexual assault? 4. Do protective orders work? Who violates protective orders the most? 5. What is the impact of mandatory arrest laws on intimate partner violence victims and offenders? 6. What are the most significant long-term health consequences of chronic sexual or physical violence? 7. What percentage of rape cases gets prosecuted? What are the rates of conviction? 8. Does treatment with intimate partner violence offenders work? 9. Does a report of intimate partner violence or sexual assault by a partner put a woman at risk of losing custody of her children? 10. -
Erotic Ambiguities : the Female Nude in Art / 30111 Helen Mcdonald
1111 2 3 4 5111 EROTIC AMBIGUITIES 6 7 8 9 1011 1 2 3111 Art is always ambiguous. When it involves the female body it can also be erotic. 4 Erotic Ambiguities is a study of how contemporary women artists have recon- 5 ceptualised the figure of the female nude. Helen McDonald shows how, over 6 the past thirty years, artists have employed the idea of ambiguity to dismantle 7 the exclusive, classical ideal enshrined in the figure of the nude, and how they 8 have broadened the scope of the ideal to include differences of race, ethnicity, 9 sexuality and disability as well as gender. 20111 McDonald discusses the work of a wide range of women artists, including 1 Barbara Kruger, Judy Chicago, Mary Duffy, Zoe Leonard, Tracey Moffatt, Pat 2 Brassington and Sally Smart. She traces the shift in feminist art practices from 3 the early challenge to patriarchal representations of the female nude to contem- 4 porary, ‘postfeminist’ practices, influenced by theories of performativity, queer 5 theory and postcoloniality. McDonald argues that feminist efforts to develop 6 a more positive representation of the female body need to be reconsidered, 7 in the face of the resistant ambiguities and hybrid complexities of visual art in 8 the late 1990s. 9 30111 Helen McDonald is an Honorary Fellow in the School of Fine Arts, Classical 1 Studies and Archaeology at the University of Melbourne. 2 3 4 5 6 7 8 9 40111 1 2 3 44111 i RUNNING HEAD 1111 2 3 4 5 6 7 8 9 1011 1 2 3 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 1 2 3 44111 ii RUNNING HEAD -
Dsr-Newsletter-03-08-2021-Sfw.Pdf
March 8, 2021 Volume 21, Issue 8 Weekly Newsletter The new owners were received very well by the residents, members and guests that attended the meet and greet Saturday afternoon. Many great topics were briefly discussed transferring an amazingly certain future for the resort and anyone visiting. The owners are now chipping away at their ar- rangement of assault and with the incredible input they received during the Inside this issue occasion can now focus on the process pushing ahead. Be Yourself.................................. 3 They discussed a portion of the numerous amenities they intend to bring to Is there a human “need” ............ 3 the resort for everybody's delight. They spoke of some of the new activities Getting a Naturist Volunteer Job 4 they will be adding in the future. This will not be an overnight revitalization of Nude Beaches ............................ 4 the resort and we ask that you bear with us throughout the process. Obsessed with streaking ............. 5 Clean up of the resort has already begun. This is the initial step and will ac- Nudist Comedy DISROBED ......... 6 count for future changes. We are asking all site holders to begin the process poses at tourist spots ................. 6 of springtime site cleanup as well. Naturist Accommodations .......... 6 Please, stay tuned to our newsletter as this is the place where you will locate Chelsea Handler .......................... 8 the most data about the renewal of the resort. We are looking forward to the coming days, months, and years, as the new ideas are implemented. AANR Newsletter Attention Residents If you have not yet returned your questionnaire, please do so. -
Writing the Naked Body: Sex and Nudity in Nuala Ní Chonchuír's Nude
Estudios Irlandeses, Number 11, 2016, pp. 1-11 __________________________________________________________________________________________ AEDEI Writing the Naked Body: Sex and Nudity in Nuala Ní Chonchuír’s Nude Máximo Aláez Corral University of Oviedo, Spain Copyright (c) 2016 by Máximo Aláez Corral. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. This essay looks into the deconstruction of the male gaze and the objectification process around the concepts of nudity and nakedness. Starting from the review of some of Martha Nussbaum’s, John Berger’s, or Laura Mulvey’s main ideas on the topic of the gaze and objectification, a practical analysis of some of the short stories contained in Nuala Ní Chonchúir’s Nude (2009) is provided. By so doing, I intend to examine the ways in which conventional objectification phenomena can be turned upside down, challenged or parodied in order to reveal cultural discriminatory undercurrents and offer a new non-objectifying visual and written representation of the naked body. Key Words. Ní Chonchúir, Objectification, Male Gaze, Nude, Naked Body, Feminism. Resumen. Este ensayo analiza la deconstrucción de la mirada masculina y el proceso de reificación en torno al concepto de desnudez en toda su extensión. Tras plantear un breve repaso de algunas de las ideas planteadas por Martha Nussbaum, John Berger o Laura Mulvey acerca tanto de la mirada como de la reificación del cuerpo, realizo un análisis práctico de algunos de los relatos contenidos en Nude (2009), de la autora irlandesa Nuala Ní Chonchúir. -
In the Supreme Court of Iowa
IN THE SUPREME COURT OF IOWA No. 10–0898 Filed July 27, 2012 MALL REAL ESTATE, L.L.C., an Iowa Limited Liability Company, Appellant, vs. CITY OF HAMBURG, an Iowa Municipal Corporation, Appellee. Appeal from the Iowa District Court for Fremont County, Greg W. Steensland, Judge. An establishment appeals an order denying its request for an injunction enjoining a city from enforcing an ordinance regulating nude dancing. REVERSED AND REMANDED WITH INSTRUCTIONS. W. Andrew McCullough, Midvale, Utah, and Brian B. Vakulskas and Daniel P. Vakulskas of Vakulskas Law Firm, Sioux City, for appellant. Raymond R. Aranza of Scheldrup Blades Schrock Smith Aranza, P.C., Cedar Rapids, for appellee. 2 WIGGINS, Justice. The operator of an establishment offering nude and seminude dance performances sought an injunction restraining a city from enforcing its ordinance regulating nude and seminude dancing. The district court found that state law did not preempt the ordinance and that the ordinance was constitutional. On appeal, we find that state law preempts enforcement of the ordinance and that it is unenforceable against the establishment. Accordingly, we reverse the judgment of the district court and remand the case with instructions to the court to enter an order enjoining the city from enforcing its ordinance against the establishment. I. Background Facts and Proceedings. On December 8, 2008, the Hamburg city council passed chapter 48 of its city code. The ordinance, known as the “Sexually Oriented Business Ordinance,” contains provisions relating to licensing and zoning and imposes a range of regulations upon sexually oriented businesses. The stated purpose of the ordinance is to “regulate sexually oriented businesses in order to promote the health, safety, morals, and general welfare of the citizens of the City, and to establish reasonable and uniform regulations to prevent the deleterious secondary effects of sexually oriented businesses.” Hamburg, Iowa, Code § 48.010.01 (Dec. -
Nudity Rider Basics
Nudity and Simulated Sex For actors new to the industry, actors Rider Basics without representation, background actors, and day players Nudity Riders A nudity rider, or simulated sex rider, is a contract between an actor and the production they are hired by that defines what will happen onset when filming nude, intimate, simulated sex, or simulated sexual assault scenes. It might also be called a nudity waiver, simulated sex act rider, simulated sex waiver, intimate scene rider, or proposed written consent. Any actor filming a nude, intimate, simulated sex, or simulated sexual assault scene, or appearing nude or simulating a sex act onset, even if not depicted in the film, shouldnegotiate terms for a nudity rider before filming begins. The casting professional who hires you will tell you if the role requires intimacy or nudity. The Basics Below are the basic terms that should be included in a nudity sex rider. Under SAG-AFTRA rules, producers are required to provide principal performers with proposed riders at least 48 hours in advance of call time. The SAG-AFTRA rules governing nudity riders differ for background actors. It falls on the casting agencies hiring background actors to obtain as much information as possible from the producer regarding nudity or simulated sex acts in the role and inform you prior to booking. If you are NOT notified of nudity or simulated sex in advance of your call time, you may refuse to engage in the performance and still get paid for the day. You (or your representative, if you have one) should discuss the terms with the person the production has designated to manage nudity riders. -
Amber Spa Cosmetic Classic Energetic
Amber Spa Cosmetic Classic Energetic english edition Philosophy Amber Spa Karawanserai healing oils For us, using of Your safe haven in the mountains to recover in a safe natural active ingredients is a way of expressing atmosphere. That is what the amber stands for – its honesty and individuality. That is one reason original effect as a healing stone and a place in our why we make our oils together with our regional Alpen-Karawanserai. Arrive at your sheltered room, pharmacies in order to save resources. Our full of warmth and hospitality, in a secure refuge recipes are based on natural aromas such as that is the perfect place to recharge your batteries, almond oil, frankincense and cardamom oil and gather your strength and find your bearings. we don‘t use any synthetic additives. To recharge with positive energy, we use healing stones such We will accompany you all throughout your as rock crystal, rose quartz or amber. journey. Experience circumspect attention and a Depending on the composition, our healing oil few relaxing moments of withdrawal here at the treatments can be invigorating or relaxing, and Amber Spa. give you a feeling of nurturing or fill you with new energy. Our Amber Spa symbols are your companions and should help you find your bearings in choo- Babor for the highest demands and sustainably sing your treatment. for healthy skin. We use the finest, natural ingredients from the Alps to give you luxury skin care that is both highly effective and gentle. P Finding peace Reviderm Microdermabrasion was originally R Recharging your batteries developed for the medical sector. -
The Nude Figure in Renaissance Art Thomas Martin
19 The Nude Figure in Renaissance Art Thomas Martin The establishment of the nude as an independent and vital subject in post-antique western art occurred during the Renaissance and is, along with the use of perspective, one of the most important markers differentiating Renaissance art from medieval art. One factor driving these innovations was the desire to portray a world that conforms to visual reality, where objects decrease in size as they move away from the picture plane, and where human anatomy is rigorously understood. Just as Renaissance artists employed perspective to portray naturalistic spaces, so they also populated those spaces with proportional, anatomically accurate figures and, during the course of the fifteenth and sixteenth centuries, the occasions when those figures were depicted nude occurred more and more frequently. Naturalism, however, was but one motive for the increased use of the nude, and by the first half of the 1500s, the naked body had achieved a wider and more varied presence in art than had been the case in the Middle Ages or even in antiquity where, with few exceptions, its use was confined to male athletes, heroes, and divinities. This essay will focus on two issues: where is the nude used – i.e., what are its locations – and what are the meanings of its uses? As it is today, the body in the Renaissance was multivalent. European Christian society believed that as a cause of lust and sin, the body was fearful and needed to be covered up. Yet at the same time it was the form the Savior, Jesus Christ, took during his lifetime, and the Catholic Church taught that it is in our very own earthly bodies that, after the last trumpet, we will spend eternity either in bliss in Heaven or in despair in Hell. -
Reconstructing the Law of Voyeurism and Exhibitionism
TO SEE AND BE SEEN: RECONSTRUCTING THE LAW OF VOYEURISM AND EXHIBITIONISM Stuart P. Green* INTRODUCTION Lady Godiva was an 11th-century Anglo-Saxon noblewoman who lived with her husband, Lord Leofric, in the English village of Coventry.1 According to a legend dating back to as early as the 13th century, the compassionate Godiva, concerned about the harsh tax burden her husband had placed on his subjects, appealed to him, over and over, for their relief. At last, weary of her entreaties, Leofric set forth this challenge: if his wife would ride naked through the center of town, the tax would be lifted. Lady Godiva took him at his word, and the next day rode her horse down the main street of Coventry, covered only by her long hair. According to one version of the legend, a proclamation was issued that all persons should stay indoors and shutter their windows during Godiva’s ride.2 According to an alternate version, the people stayed indoors voluntarily, shuttered behind closed windows as a gesture of respect and appreciation for her actions on their behalf.3 In the end, Lord Leofric made good on his promise and announced that the tax burden on his subjects would indeed be lifted.4 A subplot in a later version of the Lady Godiva legend involves the role of a young tailor known forever after as “Peeping Tom.” According to the story, the lustful Tom drilled a hole in his shutters so that he might see Godiva pass. As divine punishment, Tom was subsequently struck blind (or dead, according to yet * Distinguished Professor of Law, Rutgers Law School; Leverhulme Visiting Professor of Law, London School of Economics (2016–17).