Lgbts Upset with Obama Tori Amos by Bob Roehr
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
O Poder Das Drag Queens Na Cultura Da Mídia
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XIX Congresso de Ciências da Comunicação na Região Nordeste – Fortaleza - CE – 29/06 a 01/07/2017 Telas de glitter: O poder das drag queens na cultura da mídia1 Lívia PEREIRA2 Universidade Federal da Paraíba, João Pessoa, PB Resumo Desde que o mundo conheceu a drag queen RuPaul, em 1993, percorremos um longo caminho para naturalizar a presença desses artistas dentro da cultura pop e em meios de comunicação de massa. Hoje podemos afirmar que ser drag é pop, mas o que mudou nas quase três décadas do reinado midiático de RuPaul? De que forma artistas anteriores a ela abriram caminhos para a revelação da cultura drag para o grande público? Por que hoje aceitemos com mais naturalidade um reality show com drag queens, mas, olhamos com repulsa o filme “Pink Flamingos” (John Waters, 1972), estrelando a infame Divine? O sucesso do reality show “RuPaul’s Drag Race” visibiliza a cena drag em todo o mundo e cria uma nova geração de consumidores, mas nesse contexto, a cultura midiática se apropria da drag queen como produto para satisfazer os desejos do sujeito pós-moderno e passamos então a compreender a drag como um produto midiático com orientações econômicas marcadas pela lógica do capital, retorno financeiro e do que Martel (2012) chama de mainstream. Palavras-chave Drag queens; cultura da mídia; RuPaul’s Drag Race; mainstream; cultura pop. Quando estreou em 2009, não era esperado que o reality show “RuPaul’s Drag Race” tivesse vida longa. Apresentado por uma das drag queens mais famosas do mundo que teve o ponto alto de sua carreira nos anos 1990, RuPaul, o programa buscava a sucessora da apresentadora no posto da drag superestrela dos Estados Unidos. -
Taylor Dayne Supermodel Download
Taylor dayne supermodel download Taylor Dayne Supermodel. Now Playing. Supermodel. Artist: Taylor Dayne. MB · Supermodel. Artist: Taylor Dayne. MB. Hymn. Artist: Taylor Dayne. MB · Supermodel. Artist: Taylor Dayne. MB · Supermodel. Artist: Taylor. Artist: Taylor Dayne. test. ru MB. Supermodel Free Mp3 Download Free RuPaul Supermodel You Better Work mp3. Kbps MB Free Taylor Dayne Supermodel. Taylor Dayne Supermodel mp3 high quality download at MusicEel. Choose from several source of music. Download Supermodel Taylor Dayne mp3 songs in. "Taylor Dayne - Supermodel" Music Lyrics. You better You better work! [covergirl]Work it girl! [give a twirl]Do your thing on the ! Stream Taylor Dayne - Supermodel Jack Smith Edit by Jack Smith from desktop or your mobile device. Listen to songs and albums by Taylor Dayne, including "Tell It to My Heart", of RuPaul's "Supermodel" for The Lizzie McGuire Movie -- acting kept her away. Watch the video, get the download or listen to Taylor Dayne – Supermodel for free. Supermodel appears on the album The Lizzie McGuire Movie. Discover more. Check out RuPaul. SuperModel (You Better Work) ReMixes from RuCo, Inc. on Beatport. Supermodel performed by Taylor Dayne taken from the Lizzie McGuire Motion Picture Soundtrack starring. Tags: Taylor Dayne Supermodel (You Better Work) Fashion Singing lyrics lyric with super model lizzie mcguire movie track hilary duff Full music Song Album. Supermodel - Taylor Dayne. What Dreams Are Made Of - Lizzie McGuire. On An Evening In Roma - Dean Martin. Girl In The Band - Haylie Duff. Floor On Fire written by Taylor Dayne, Niclas Kings, Ivar Lisinski & Tania Download now on iTunes: http. Taylor Dayne, Soundtrack: Win a Date with Tad Hamilton!. -
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. -
Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-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 Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Drag Queens, Architects and the Skin
• .. Drag Queens, Architects and the Skin FEW ARCHITrCTS WOUI D raise an eyebrOW, plucked or not, when faced with the links between text md ph ot o~ Sanh K.ltherine Roszler co:.metic. and architecture, an issue to which there must be more than horrible puns about foundation In his book Pmuer, P~tcr Cook claims there to be "un ending parallels brtwrcn the use of human cosmet ics and the cultural development of the facade/' and he propounds that "the pamted lip has to deal with eating lunch; the sweetly fa~hioned doorway has to deal with the entry of a horse and cart. "1 Admittedly, such an example is a modC$1 propo:.al, if not a rustic one-if the quaint lipstick job i~ reminiscent of nine teenth century horse drawn nOl>talgia, then what ar chitectural analog can be found for the male face to which all human knowlroge of shimmer and glim mer is applied? The crossover is, literally, in the realm of the :.upcrficial: both archih.'C!s and transv~titcs ha\'e bt.'Come expcrb m matters and manipulations of the skin. The Mchilt-'Ctural skin is murh mowalignL>d with that of th(• transver.lJil' than thr biological metnphor 52 I hC! I Hth ( o lumn often cited by architect:.. Consider the amount of de- liberation involved. The architect and drag queen both take coru;cious approache:. to what face will be turned out and what kind of an interface 1t will be bdwecn "the native constitution and the external environ ment." The range of possible cons•derations for the architectural or transvestitic skin is as boundless as the spectrum of pinks m an A\'On box so defining ex actly what skin is (to elucidate what can be done with it) may seem like a daunting task. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
MORAES, Rafael. PABLLO VITTAR VEIO À TONA, FOI K.O. A
UNIVERSIDADE FEDERAL FLUMINENSE PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Niterói 2019 1 RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Orientadora: Profª. Drª. Mayka Castellano Niterói 2019 2 3 RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Aprovada em agosto de 2019 BANCA EXAMINADORA ______________________________________________________ Profª. Drª. Mayka Castellano (Orientadora - UFF) ______________________________________________________ Profª. Drª. Beatriz Polivanov (Universidade Federal Fluminense - UFF) ______________________________________________________ Profº. Drº. Leonardo De Marchi (Universidade Estadual do Rio de Janeiro - UERJ) Niterói 2019 4 Permita que eu fale, não as minhas cicatrizes Elas são coadjuvantes, não, melhor, figurantes, que nem devia 'tá aqui Permita que eu fale, não as minhas cicatrizes -
Simon Slater
JIMMY HARRY SELECTED CREDITS THE RIGHT KIND OF WRONG (2013) W.E. (2011) LARS AND THE REAL GIRL (2007) JOHN TUCKER MUST DIE (2006) RUPAUL: SUPERMODEL, YOU BETTER WORK (1993) BIOGRAPHY Jimmy Harry is a Golden Globe winning songwriter and composer who currently resides in Los Angeles, CA. As committed to music as he is uncommitted to a genre, Harry has worked with artists such as Madonna, Kylie Minogue, Kelly Clarkson, Weezer, Pink, Fischerspooner, Oh Land, and Santana. Recognized at the 2012 Golden Globes by the Hollywood Foreign Press Association, he won Best Original Song with Madonna and Julie Frost for the song "Masterpiece". Sprawling the areas of theater, sound installation, composition, and performance, Harry's background plunders the spectrum of art and noise. He began his career as a composer and sound designer in the avant-garde theater scene, working with the Randolph Street Gallery in Chicago, the Public Theater in NYC, and the Red Eye Collaboration in Minneapolis, the city anchoring much of his early orbit. As a young musician Harry plunged into the creative scene, writing and composing, joining rock bands, running an art gallery, and connecting with fellow talented subversives. While on assignment with the Red Eye Collaboration Harry met writer/director Leslie Mohn, with whom he partnered on the performance art piece "Everything In Sight" at MOCA Los Angeles, and installation artist Dorit Cypis, with whom he exhibited at the Whitney Museum. While commuting between theater companies and rock gigs, Harry made the acquaintance of his long-time mentor and artistic catalyst, the writer/director Lee Bruer. -
N° Artiste Titre Formatdate Modiftaille 14152 Paul Revere & the Raiders Hungry Kar 2001 42 277 14153 Paul Severs Ik Ben
N° Artiste Titre FormatDate modifTaille 14152 Paul Revere & The Raiders Hungry kar 2001 42 277 14153 Paul Severs Ik Ben Verliefd Op Jou kar 2004 48 860 14154 Paul Simon A Hazy Shade Of Winter kar 1995 18 008 14155 Me And Julio Down By The Schoolyard kar 2001 41 290 14156 You Can Call Me Al kar 1997 83 142 14157 You Can Call Me Al mid 2011 24 148 14158 Paul Stookey I Dig Rock And Roll Music kar 2001 33 078 14159 The Wedding Song kar 2001 24 169 14160 Paul Weller Remember How We Started kar 2000 33 912 14161 Paul Young Come Back And Stay kar 2001 51 343 14162 Every Time You Go Away mid 2011 48 081 14163 Everytime You Go Away (2) kar 1998 50 169 14164 Everytime You Go Away kar 1996 41 586 14165 Hope In A Hopeless World kar 1998 60 548 14166 Love Is In The Air kar 1996 49 410 14167 What Becomes Of The Broken Hearted kar 2001 37 672 14168 Wherever I Lay My Hat (That's My Home) kar 1999 40 481 14169 Paula Abdul Blowing Kisses In The Wind kar 2011 46 676 14170 Blowing Kisses In The Wind mid 2011 42 329 14171 Forever Your Girl mid 2011 30 756 14172 Opposites Attract mid 2011 64 682 14173 Rush Rush mid 2011 26 932 14174 Straight Up kar 1994 21 499 14175 Straight Up mid 2011 17 641 14176 Vibeology mid 2011 86 966 14177 Paula Cole Where Have All The Cowboys Gone kar 1998 50 961 14178 Pavarotti Carreras Domingo You'll Never Walk Alone kar 2000 18 439 14179 PD3 Does Anybody Really Know What Time It Is kar 1998 45 496 14180 Peaches Presidents Of The USA kar 2001 33 268 14181 Pearl Jam Alive mid 2007 71 994 14182 Animal mid 2007 17 607 14183 Better -
Women Singer-Songwriters As Exemplary Actors: the Music of Rape and Domestic Violence
Women Singer-Songwriters as Exemplary Actors: The Music of Rape and Domestic Violence KATHANNE W. GREENE At the 2016 Oscars, Lady Gaga, joined onstage by fifty rape survivors, performed the song “Til It Happens to You.” The Oscar-nominated song by Lady Gaga and Diane Warren was written for The Hunting Ground, a documentary film about campus sexual assault. Over thirty-one million people viewed the Oscar performance, which brought some in the audience to tears, and the video on Vevo has received over twenty-nine million views with another twenty-eight million views on YouTube. The film, video, and performance are the result of a growing political and social movement by young high school and college women to force schools, universities, and colleges to vigorously respond to rape and sexual harassment on campus. In response to complaints filed by more and more young women, the Obama Administration and the Office of Civil Rights (OCR) in the Department Education began investigating claims that schools, colleges, and universities were not actively and adequately responding to claims of sexual assault and harassment despite passage of the Clery Act of 1990. The Clery Act requires colleges and universities to report data on crime on campus, provide support and accommodations to survivors, and establish written policies and procedures for the handling of campus crime.1 Since 2011, the OCR has expanded its efforts to address sexual assault on campuses as violations of Title IX of the Education Amendments of 1972 that prohibits sex discrimination -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
We, the Judges: the Legalized Subject and Narratives of Adjudication in Reality Television, 81 UMKC L. Rev. 1 (2012)
UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 1-1-2012 We, the Judges: The Legalized Subject and Narratives of Adjudication in Reality Television, 81 UMKC L. Rev. 1 (2012) Cynthia D. Bond John Marshall Law School Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Entertainment, Arts, and Sports Law Commons, Judges Commons, and the Law and Society Commons Recommended Citation Cynthia D. Bond, We, the Judges: The Legalized Subject and Narratives of Adjudication in Reality Television, 81 UMKC L. Rev. 1 (2012). https://repository.law.uic.edu/facpubs/331 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. "WE, THE JUDGES": THE LEGALIZED SUBJECT AND NARRATIVES OF ADJUDICATION IN REALITY TELEVISION CYNTHIA D. BOND* "Oh how we Americans gnash our teeth in bitter anger when we discover that the riveting truth that also played like a Sunday matinee was actually just a Sunday matinee." David Shields, Reality Hunger "We do have a judge; we have two million judges." Bethenny Frankel, The Real Housewives of New York City ABSTRACT At first a cultural oddity, reality television is now a cultural commonplace. These quasi-documentaries proliferate on a wide range of network and cable channels, proving adaptable to any audience demographic. Across a variety of types of "reality" offerings, narratives of adjudication- replete with "judges," "juries," and "verdicts"-abound.