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Portland Pride 2008 Is Going to Bring. It. Oh Really?
PRIDE1 This year, Pride Northwest, Inc. has made quite the promise: Portland Pride 2008 is going to Bring. It. Oh really? Well, the Mercury is going to Bring. It. On! Inside, check out our homage to the cheer-tastic lm of the same name, featuring Portland’s brightest stars of the queer cheerleading squad (and their rivals, the anti-gay troupe). We’ve also got queers who bring it with guns, a head-to-head gay-off, and a polite request that certain gays stop bringing it, please. Plus: All the info you need to enjoy Portland Pride 2008, from the parade and waterfront festival EDITED BY AMY J. RUIZ to every dance night in town. You know what to do. PRIDE2 2 Portland Mercury June 5, 2008 The Official Guide to Pride June 14-15, 2008 PRIDE3 The Official Guide to Pride June 14-15, 2008 June 5, 2008 Portland Mercury 3 PRIDE4 HP. Proud Sponsor of the Portland Pride Festival. hp.com/go/diversity 2008 Hewlett-Packard Development Company, L.P. 4 Portland Mercury June 5, 2008 The Official Guide to Pride June 14-15, 2008 PRIDE5 The BRING IT Manifesto BRO’s Next Battle… and How You Can Bring it, Too! by Basic Rights Oregon The BRING IT Manifesto Can you hear the bells ringing? No, it’s not the sound of be free to earn a living, and able to care for the ones we love. wedding bells (yet). It’s the sound of socially regressive vot- After 20 years of ballot measures designed to divide our state ers getting their wings! According to polls, bigotry is aging in two, we believe the time to BRING IT for equality is now. -
Miss Gay America 1995 Me
~~~g~~~~~~~~ Mm@ ~~@'~Qg f~r l' r~~ @Dd ~w It bg@ II~. mHJ Q) ~M w@11§~It ~~. tM IuMlra every w~ ftle new llelcony fgnd•• tin ••• weather 385 ••• a year~It has 115 tGDB cat *conditioning; 411dJ fudIItrooms; more Gum 13,888 watts of alftPiDiad SOUIId feeding 315~ 8Iid a video systeM wRb 611fiiDfiltGr8~Itis i ref it ~ iI Oii8iis AUgus' ia at 8. ,. 3923 Cedar Springs, Dallas, Texas ~ (214) 559-0650 [email protected] ~nf;~ ;fitnti ~IHfif. ;ti\fI~ ~IH; VOLUME 23, NUMBER 22 AUGUST 1 - 7, 1997 14 LOOKING BACK The Lost Year, Part 2: Trouble, Progress and Division for DGA by Phil Johnson 18 SURFING THE NET A Quick Tour of Gay Stops on the Information Highway by Chris Gray 26 FRESH BEATS Waako Records President Bob Shami Talks Dance Music by Jimmy Smith 30 ON OUR COVER Scott Andrew Robbins photos by Artistic Visions by Greg 39 CURRENT EVENTS 45 BACKSTAGE Casa Manana Brings Candy Buckley to Fort Worth in Mame 49 STARSCOPE Surly, Rampaging Mars Changes Signs in Mid-Month 59 TEXAS SPORTS 60 TEXAS NEWS 65 TEXAS TEA 78 CLASSIFIEDS 84 OBITUARIES 85 GUIDE TWT (This Week In Texas) Is published by Texas Weekly Times Newspaper Co.. at 3300 Reagan Street In Dallas, Texas 75219 and 811 Westhelmer In Houston, Texas 77CXJ6.Opinions expressed by columnists are not necessarily those of lWT or of Its staff. Publication of the nome or photograph of any person or organization in articles or advertising In 1WTIs not to be construed as any Indication of the sex- ual orientation of said person or organization. -
TG Accident Victim Denied Treatment Dies from Injuries Washington, D.C
News Ii views Vision • Integrity • Quality Vol. 9, No. 9 •September 1995 TG Accident Victim Denied Treatment Dies from injuries Washington, D.C. ported to D.C. General Hospital where she was pro A male-to-female transgendered person was fa nounced dead. tally injured in a traffic accident in Washington, In response to questions raised by eyewitnesses, D.C., on Monday, August 7, 1995. The Washington Hunter's family, friends, and the Washington, D.C. Post identified Tyrone Michael Hunter as 24 years activist group CLOY (Gays and Lesbians Opposing old and a "transvestite." Hunter's friends stated she Violence), Chief Otis Latin of the D.C. Fire Depart liked to be called Tyra, and had lived full-time as a ment held a meeting in his office on August 11, which \VOman since she was 14. Hunter worked as a hair resulted in no immediate action. CLOY issued a dresser and was well-liked in her neighborhood. press release demanding an independent investiga Tyra Hunter was a passenger in a car when it was tion, suspension of the D.C. Fire Department per hit broadside in the middle of an intersection in sonnel involved, and diversity and sensitivity training Southeast Washington by another car at a four-way for the D.C. Fire Department. stop. Tyra and the car's driver were both pulled from The D.C. Fire Department announced it is con the demolished car by neighborhood residents. Ten tinuing its investigation while refusing further com minutes later, D.C. Fire Department personnel ar ment. A gay, lesbian, bisexual and transgender task rived on the scene. -
2018/2019 Season
Saturday, April 6, 2019 1:00 & 6:30 pm 2018/2019 SEASON Great Artists. Great Audiences. Hancher Performances. Kevin McKenzie Kara Medoff Barnett ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Alexei Ratmansky ARTIST IN RESIDENCE STELLA ABRERA ISABELLA BOYLSTON MISTY COPELAND HERMAN CORNEJO SARAH LANE ALBAN LENDORF GILLIAN MURPHY HEE SEO CHRISTINE SHEVCHENKO DANIIL SIMKIN CORY STEARNS DEVON TEUSCHER JAMES WHITESIDE SKYLAR BRANDT ZHONG-JING FANG THOMAS FORSTER JOSEPH GORAK ALEXANDRE HAMMOUDI BLAINE HOVEN CATHERINE HURLIN LUCIANA PARIS CALVIN ROYAL III ARRON SCOTT CASSANDRA TRENARY KATHERINE WILLIAMS ROMAN ZHURBIN Alexei Agoudine Joo Won Ahn Mai Aihara Nastia Alexandrova Sierra Armstrong Alexandra Basmagy Hanna Bass Aran Bell Gemma Bond Lauren Bonfiglio Kathryn Boren Zimmi Coker Luigi Crispino Claire Davison Brittany DeGrofft* Scout Forsythe Patrick Frenette April Giangeruso Carlos Gonzalez Breanne Granlund Kiely Groenewegen Melanie Hamrick Sung Woo Han Courtlyn Hanson Emily Hayes Simon Hoke Connor Holloway Andrii Ishchuk Anabel Katsnelson Jonathan Klein Erica Lall Courtney Lavine Virginia Lensi Fangqi Li Carolyn Lippert Isadora Loyola Xuelan Lu Duncan Lyle Tyler Maloney Hannah Marshall Betsy McBride Cameron McCune João Menegussi Kaho Ogawa Garegin Pogossian Lauren Post Wanyue Qiao Luis Ribagorda Rachel Richardson Javier Rivet Jose Sebastian Gabe Stone Shayer Courtney Shealy Kento Sumitani Nathan Vendt Paulina Waski Marshall Whiteley Stephanie Williams Remy Young Jin Zhang APPRENTICES Jacob Clerico Jarod Curley Michael de la Nuez Léa Fleytoux Abbey Marrison Ingrid Thoms Clinton Luckett ASSISTANT ARTISTIC DIRECTOR Ormsby Wilkins MUSIC DIRECTOR Charles Barker David LaMarche PRINCIPAL CONDUCTOR CONDUCTOR PRINCIPAL BALLET MISTRESS Susan Jones BALLET MASTERS Irina Kolpakova Carlos Lopez Nancy Raffa Keith Roberts *2019 Jennifer Alexander Dancer ABT gratefully acknowledges: Avery and Andrew F. -
Tom Rubnitz / Dynasty Handbag
TOM RUBNITZ / DYNASTY HANDBAG 9/25/2012 PROGRAM: TOM RUBNITZ The Mother Show, video, 4 mins., 1991 Made for TV, video, 15 mins., 1984 Drag Queen Marathon, video, 5 mins., 1986 Strawberry Shortcut, video, 1:30 mins., 1989 Pickle Surprise, video, 1:30 mins., 1989 DYNASTY HANDBAG The Quiet Storm (with Hedia Maron), video, 10 mins., 2007 Eternal Quadrangle, video, 20 mins., 2012 WHITE COLUMNS JIBZ CAMERON JOSH LUBIN-LEVY What does it mean to be a great performer? In a rather conventional sense, great performing is often associated with a sense of interiority, becoming your character, identifying with your role. In that sense, a great performer could become anyone else simply by looking deep within herself. Of course, there’s a long history of performance practices that reject this model. Yet whether it is a matter of embracing or rejecting what is, so to speak, on the inside, there is an overarching belief that great performers are uniquely adept at locating themselves and using that self to build a world around them. It is no surprise then that today we are all expected to be great performers. Our lives are filled the endless capacity to shed one skin for another, to produce multiple cyber-personalities on a whim. We are hyperaware that our outsides are malleable and performative—and that our insides might be an endless resource for reinventing and rethinking ourselves (not to mention the world around us). So perhaps it’s almost too obvious to say that Jibz When I was a youth, say, about 8, I played a game in the Cameron, the mastermind behind Dynasty Handbag, is an incredible woods with my friend Ocean where we pretended to be hookers. -
Ballet Notes
Ballet Notes Mozartiana & Other Dances & In The Upper Room June 15 - 19, 2011 Aleksandar Antonijevic in In The Upper Room. Photo by Bruce Zinger. Orchestra Violins Bassoons Benjamin BoWman Stephen Mosher, Principal Concertmaster JerrY Robinson LYnn KUo, EliZabeth GoWen, Assistant Concertmaster Contra Bassoon DominiqUe Laplante, Horns Principal Second Violin Celia Franca, C.C., Founder GarY Pattison, Principal James AYlesWorth Vincent Barbee Jennie Baccante George Crum, Music Director Emeritus Derek Conrod Csaba KocZó Scott WeVers Karen Kain, C.C. Kevin Garland Sheldon Grabke Artistic Director Executive Director Xiao Grabke Trumpets David Briskin Rex Harrington, O.C. NancY KershaW Richard Sandals, Principal Music Director and Artist-in-Residence Sonia Klimasko-LeheniUk Mark Dharmaratnam Principal Conductor YakoV Lerner Rob WeYmoUth Magdalena Popa Lindsay Fischer JaYne Maddison Trombones Principal Artistic Coach Artistic Director, Ron Mah DaVid Archer, Principal YOU dance / Ballet Master AYa MiYagaWa Robert FergUson WendY Rogers Peter Ottmann Mandy-Jayne DaVid Pell, Bass Trombone Filip TomoV Senior Ballet Master Richardson Tuba Senior Ballet Mistress Joanna ZabroWarna PaUl ZeVenhUiZen Sasha Johnson Aleksandar AntonijeVic, GUillaUme Côté*, Violas Harp Greta Hodgkinson, Jiˇrí Jelinek, LUcie Parent, Principal Zdenek KonValina, Heather Ogden, Angela RUdden, Principal Sonia RodrigUeZ, Piotr StancZYk, Xiao Nan YU, Theresa RUdolph KocZó, Timpany Bridgett Zehr Assistant Principal Michael PerrY, Principal Valerie KUinka Kevin D. Bowles, Lorna Geddes, -
Robert Michael /Serotina Archive
ROBERT MICHAEL /SEROTINA ARCHIVE (MICHAEL) ©Bishopsgate Institute Catalogued by Barbara Vesey, August 2020 MICHAEL Robert Michael/Serotina Archive 2003-2019 Name of Creator: Michael, Robert (1951-2007) musician and DJ Extent: 13 boxes, 1 photo album, 8 posters Administrative/Biographical History: Originally from Folkestone, Kent, Robert attended Harcourt County Primary School (1958-1963) and Harvey Grammar School (1963-1970). He did one year at London City University studying aeronautical engineering (1970-1971) but left when he realised it wasn’t for him. He worked in sales for General Motors (1972-1975), for the Dept of Employment (1975-1978), Highgate Optical Ltd (1979-1982), Datasolve (1982), Promo People (1982-1986) and Audiotext in the Accounts Dept (1987-?) before making the leap to a career in his first love, music. He had formed several bands since his early twenties, including Irma’s Tubes (1973-1976), Night Fire (1976), Ice (1976), High Altitude (1976-1979), Angelle and the White Boys (1979), In Time (1979), Formula One (1979-1980), Travel (1980-1981), A Matter of Climate (1981), Zoot Troup (1981) and Desperate Fun (1986-1989), many of which won numerous competitions, received very favourable press and played support for bands such as Soft Machine. In the early 1990s he branched out into DJing and recording mixes for club gigs, working under the name DJ Serotina with artists including Tasty Tim and Tino Di Placido (to form T-Total) and Mark Moore (as Needledust). Popular and often in demand, he worked steadily throughout the 1990s and early 2000s at London venues and club nights including Salon Kitty, Club Rub, Club Flesh, Skin Two, Club Submission/Torture Garden. -
Wigstock and the Kulturkampf: Supreme Court Storytelling, the Culture War, and Romer V
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln College of Law, Faculty Publications Law, College of 1997 Wigstock and the Kulturkampf: Supreme Court Storytelling, the Culture War, and Romer v. Evans Richard F. Duncan University of Nebraska College of Law, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/lawfacpub Part of the Legal Studies Commons Duncan, Richard F., "Wigstock and the Kulturkampf: Supreme Court Storytelling, the Culture War, and Romer v. Evans" (1997). College of Law, Faculty Publications. 143. https://digitalcommons.unl.edu/lawfacpub/143 This Article is brought to you for free and open access by the Law, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in College of Law, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Duncan in Notre Dame Law Review (1997) 72. Copyright 1997, University of Notre Dame. Used by permission. WIGSTOCK AND THE KULTURKAMPF: SUPREME COURT STORYTELLING, THE CULTURE WAR, AND ROMER v. EVANS RichardF. Duncan* Argument is insufficient; America needs exorcism. -Peter Kreeft' I. INTRODUCTION Our society is deeply divided over the meaning of good and evil. We tell clashing stories about things that matter a great deal, things such as abortion, marriage and family, education, the role of religion in the public square, and the ethics of human sexuality.2 James Davison Hunter observed that this culture war is a struggle between starkly polarized moral communities and that it represents "a strain upon the course of democratic practice."3 Indeed, I often think America was a good idea that, sadly, has failed. -
Drag.Qxd (Page 1)
Academy established its separate its established Academy courtesy Patsy Lynch Patsy courtesy Beulah Buskirk, 2004 Buskirk, Beulah America pageant. In 1986, the 1986, In pageant. America equally diverse in their styles and music with music and styles their in diverse equally took it over as the Miss Gaye Miss the as over it took offer a mix of all backgrounds. Performers are Performers backgrounds. all of mix a offer the St. James, and many others. many and James, St. the leading female impersonators, female leading white. The ethnic circuits overlap where clubs where overlap circuits ethnic The white. Kazans, the Maharises, the O’Haras, the Santanas, the O’Haras, the Maharises, the Kazans, , one of Washington’s of one , Buskirk cuits: African-American, Latino, Asian, and Asian, Latino, African-American, cuits: the Dennises, the Devereaux, the Kanes, the Kanes, the Devereaux, the Dennises, the Beulah a.k.a. Buskirk, Jerry Today’s club scene offers distinct ethnic cir- ethnic distinct offers scene club Today’s include the Bloomingdales, the Blues, the Carreros, the Blues, the Bloomingdales, the include first city-wide pageant. In 1964 In pageant. city-wide first beyond the gay community. gay the beyond eages as well. Well-known DC drag families drag DC Well-known well. as eages started a Masquerade Ball, the Ball, Masquerade a started sional drag performances to an audience far audience an to performances drag sional of them trainees of the Academy) created club lin- club created Academy) the of trainees them of In the fall of 1961, Bill Frye Bill 1961, of fall the In Brice and her Henry Street house brought profes- brought house Street Henry her and Brice trees. -
LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen
LISTENING TO DRAG: MUSIC, PERFORMANCE AND THE CONSTRUCTION OF OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Elizabeth Kaminski, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Vincent Roscigno, Advisor Professor Verta Taylor _________________________ Advisor Professor Nella Van Dyke Sociology Graduate Program ABSTRACT This study examines how music is utilized in drag performances to create an oppositional culture that challenges dominant structures of gender and sexuality. I situate this analysis in literature on the role of music and other cultural resources in the mobilization of social movement protest. Drawing from multiple sources of data, I demonstrate that drag queen performers make use of popular songs to build solidarity, evoke a sense of injustice, and enhance feelings of agency among audience members – three dimensions of cognition that constitute a collective action framework, conducive to social protest. The analysis is based on observations of drag performances; content analysis of the lyrics of drag songs; intensive interviews with drag queens at the 801 Cabaret in Key West, Florida; focus groups with audience members who attended the shows at the 801 Cabaret; and interviews with drag queen informants in Columbus, Ohio. I demonstrate how drag performers use music to construct new alliances and understandings of gender and sexuality among gay and heterosexual members of the audience. The data illustrate that drag performers strategically select songs to evoke an array of emotions among audience members. First are songs that utilize sympathy, sorrow, and humor to build solidarity. -
Compton Stage
Compton Stage 10:30 AM Bear Hill Bluegrass Bear Hill Bluegrass takes pride in performing traditional bluegrass and gospel, while adding just the right mix of classic country and comedy to please the audience and have fun. They play the familiar bluegrass, gospel and a few country songs that everyone will recognize, done in a friendly down-home manner on stage. The audience is involved with the band and the songs throughout the show. 11:10 AM T-Mart Rounders The T-Mart Rounders is an old-time trio that consists of Kevin Chesser on claw-hammer banjo, vocalist Jesse Milnes on fiddle and Becky Hill on foot percussion. They re-envision percussive dance as another instrument and arrange traditional old-time tunes using foot percussion as if it were a drum set. All three musicians have spent significant time in West Virginia learning from master elder musicians and dancers. Their goal with this project is to respect the old-time music tradition while pushing its boundaries. In addition to performing, they teach flatfooting/ clogging, fiddle, claw-hammer banjo, guitar and songwriting workshops, and call/play at square dance. 11:50 AM Hickory Bottom Band Tight three-part harmonies, solid pickin’ and lots of fun are the hallmarks of this fine Western Pennsylvania-based band. Every member has a rich musical history in a variety of genres, so the material ranges from well-known and obscure bluegrass classics to grassy versions of select radio hits from the past 40 years. No matter the music’s source, it’s “all bluegrass” from this talented bunch! 12:30 PM Davis & Elkins College Appalachian Ensemble The Davis & Elkins College Appalachian Ensemble, a student performance group led by string band director Emily Miller and dance director William Roboski, is dedicated to bringing live traditional music and dance to audiences in West Virginia and beyond. -
Drag Shows: Drag Queens and Female Impersonators by Andres Mario Zervigon
Drag Shows: Drag Queens and Female Impersonators by Andres Mario Zervigon Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Drag performer Lady Bunny. Female impersonation appears to have existed through the length of human Portrait by Sasha civilization and the breadth of its cultures. Ancient Roman literature and history Vaughn, courtesy feature a multitude of male cross-dressers, while in numerous Native American ladybunny.net. cultures, cross-dressing berdaches were respected as prophets and seers who were able to glimpse the world through both masculine and feminine perspectives. In the late nineteenth century, Richard von Krafft-Ebing observed in his Psychopathia Sexualis (1887) that the smallest German hamlets often featured drag culture. In contemporary India men who choose to live and dance as women are regarded with particular religious reverence. Female Impersonation and Sexual Identity Female impersonation need say nothing about sexual identity. For example, many male actors in Elizabethan England and in the classical Chinese theater performed female roles because women were generally banned from the stage. Whether or not these performances blurred the sexual identification of the actors remains a point of debate in social and theater history and a focus of recent films such as Shakespeare in Love (1998) and Farewell My Concubine (1993). Although transvestism, a term coined by Magnus Hirschfeld in 1910 and derived from the Latin for "across" and "dress," is practiced mostly by heterosexual males, the performance of female impersonation has come to be associated particularly with glbtq culture. Why this should be so is not altogether clear, but it may be that gender transgression is a component of sexual transgression or at least evokes empathy among those crossing sexual boundaries, particularly when these boundaries seem difficult to define.