U Au S a Ace As

Total Page:16

File Type:pdf, Size:1020Kb

U Au S a Ace As u au s a ace i ay C is as F'RIDAY, DECEM13ER 23RD This Holiday Season we have a gift for SHOW TIME IS 11:30PM YARA SOFIA you. The only stop in Texas for the'RuPaul' s Originally from Manati, Puerto Rico, Yara Drag Race HolieayChris1mas Show is at has been performing drag professionally for 6 years, and credits Nina Flowers for sourn BEACH. This Holiday S~cu1ar giving her the first opportunity to perform. will include an assortment of holiday favorites, Inspired by her appearance on Rupaul's including solo performances & production Drag Race, Yara has made many numbers. appearances around the country since the show aired. Yara is a unique blend of talent, beauty, charisma, and humor. AutographIMeet & Greet Party MARIAH BALENCIAGA following show. Strikingly 6' 2" tall, Mariah Paris Balen- ciaga hails from Georgia. Her beauty was a Free Cover Before 10PM with sight to behold in her appearances as a VIPText. $12 atthe door contestant in Season 3. Following her appearances on Rupaul' s Drag Race, Mariah has also starred on Rupaul's Drag Bottle ServicelTable Reservations: U. Mariah is a veteran of the ballroom email [email protected] dancing scene, and has been a hairdresser for the past 13 years. ALEXIS MATEO Alexis finished in the top 3 of the recent Rupaul's Drag Race! Alexis travels exten- sively as a representative ofRupaul's Drag Race. Alexis studied Dance & Choreogra- phy in Puerto Rico. She has won the Inter Fashion Award for Best Fashion Designer Enter to win and moved to Florida to become a an Apple iPad2 dancer/performer at Disney World. Since then] she's had the opportunity to dance 18+ to enjoy 121+ to drink with stars, includiriz Mariah Carey, Michael Bolton and .rennifer Holliday. After Hours until4AM 810 Pacific Street I 713.529.S0BE(7623) I southbeachthenightclub.com I fb/southbeachhouston I a a••••, V) G6nlea GOJme/lea ~ .. ~ .•.. ~ Tratamientos Faciales N,l9 ~,~ Botox c Perdida de Peso '0 ~·o (mesoterapia) , j~ Nutricion Facial Masaje para moldear el cuerpo ..] Terapia de quelacion ~~ Suero para colesterol Hidratacion corporal 1-1 Masajes y reflexologia .ACTO IHNVN! ALERJIAS I.i LaserFracional Co2 ~ Reconstruccion Vajinal (sincirujia) Caida de Cabello Cicatrices y Acne 1230 River Bend Dr Suite # 130 Dallas, Tx 75247 Tel. 214.631.4700 214.6314702 Fax .
Recommended publications
  • Gaymardigras.COM • Gayneworleans.COM • Southerndecadence.COM • Oct
    GayMardiGras.COM • GayNewOrleans.COM • SouthernDecadence.COM • Oct. 9-22, 2012 • The Official Mag: AmbushMag.COM • 21 joint stumble. You must practice, prac- might not notice you, going shopping, reVIEW...books, movies, cds tice, practice. and a rooftop cocktail party. Again body Design elements in a zombie abode and breath odor vary according to the include a black and white television set situation. Places to avoid are beaches, tuned to static, a rusty, broken shop- military bases, hospitals, nursing by Blanche ping cart, crumbling bricks by the fire- homes, and the airport. Coming out as Email: [email protected] place, a freestanding toilet, buckets a zombie to family and friends may be Photo by Larry Graham, GrahamStudioOne.COM filled with mysterious liquids, old metal risky. Tell your mother first and you will coat hangers, heavy chains, dead be home free with everyone else. Get hen I pulled up to my plants, a pile of mannequin body parts, friends really drunk; going on a long trip building one afternoon smashed vases and old, broken furni- is good. Try having children, puppies, Wlast week I noticed a ture. or old people around. large box from FedEx at my door. I was Last but not least are your zombie ZOMBIE EYE FOR THE LIVING curious as I hadn’t ordered anything. social skills. When hanging with a mixed GUY is a fun read. It could be a coffee- The last time I received a package this crowd you will not want to smell like a table book, a gift, a guide for your big, the Saints had won the Super Bowl zombie.
    [Show full text]
  • A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
    This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics.
    [Show full text]
  • Jorge Flores, Known As Nina Flowers, Was Born in Puerto Rico and Now Lives in Denver, Colorado with His Partner Antonio
    ChicagoPride.com Interviews December 2, 2009 Interview with Nina Flowers By ChicagoPride.com The fabulous and fierce Nina Flowers, one of the finalists on the first season of ‘RuPaul’s Drag Race,’ makes an outrageous and ‘naughty’ Chicago debut Saturday, December 5th at Spin Nightclub. Jorge Flores, known as Nina Flowers, was born in Puerto Rico and now lives in Denver, Colorado with his partner Antonio. He got his start while attending beauty school in Puerto Rico and has been performing for 15 years. He is known professionally as a makeup artist, entertainer, DJ and producer. Drawing inspiration from European Rock Artist, Nina Hagen, the 35-year-old entertainer is quite distinctive with a muscular physique, tattoos and edgy costumes. Before gaining national attention on ‘Drag Race,’ the Puerto Rican drag queen developed a solid following with live performances and numerous YouTube videos. Nina Flowers just released a new single, “Loca.” CP: Nina, how do you describe yourself? Tell us… who is Nina Flowers? NF: My name is Jorge Flores, and I created the character of Nina Flowers. Nina Flowers is an illusion. I describe her as colorful, energetic, charismatic, and entertaining. Nina has a crazy personality, but is very approachable, and she doesn’t play the cattiness games that some queens may have. In all, I love to entertain – and that is one way I can do that! CP: You’re from Puerto Rico… share an experience of life in the Caribbean. NF: The experience of living in the Caribbean is extremely beautiful – that includes the people, the weather, my family, my friends, and my fans.
    [Show full text]
  • Feminist Media Studies “She Is Not Acting, She
    This article was downloaded by: [University of California, Berkeley] On: 06 January 2014, At: 10:16 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Feminist Media Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rfms20 “She Is Not Acting, She Is” Sabrina Strings & Long T. Bui Published online: 27 Aug 2013. To cite this article: Sabrina Strings & Long T. Bui , Feminist Media Studies (2013): “She Is Not Acting, She Is”, Feminist Media Studies, DOI: 10.1080/14680777.2013.829861 To link to this article: http://dx.doi.org/10.1080/14680777.2013.829861 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • UNIVERSITY of HOUSTON Commencement Spring 2014
    UNIVERSITY OF HOUSTON COMMENCEMENT SPRING 2014 Message from Renu Khator, President . 3 University of Houston System Board of Regents . .4 University of Houston Deans . 5 Commencement Program for 9 a.m. Friday, May 9, Ceremony . 6 Commencement Program for 2 p.m. Friday, May 9, Ceremony . 7 Commencement Program for 7 p.m. Friday, May 9, Ceremony . 8 Commencement Program for 9 a.m. Saturday, May 10, Ceremony . 9 Commencement Program for 2 p.m. Saturday, May 10, Ceremony . 10 History of UH and UH System . 11 Commencement Traditions . 12 Ceremonial Symbols . 13 Honorary Degree . 14 Honors . 15 Spring Candidates for Graduation and Fall Graduates - Gerald D. Hines College of Architecture . 16-17 - C. T. Bauer College of Business . 18-24 - College of Education . 25-28 - Cullen College of Engineering . 29-32 - Conrad N. Hilton College of Hotel and Restaurant Management . 33-34 - College of Liberal Arts and Social Sciences . 35-47 - College of Natural Sciences and Mathematics . 48-52 - College of Technology . 53-55 - The Honors College . 56-59 Message from Starlet Agrella (BBA ’86, MBA ’89), Chair, Board of Directors, UH Alumni Association . 60 Special Thanks . 61-62 For additional information about Commencement at University of Houston, please visit www.uh.edu/commencement. 2 University of Houston Renu Khator President May 2014 Dear Graduate: Congratulations on one of the happiest, most memorable, and most important days of your life – the day of your graduation! The University of Houston is a very special place . It is the place that welcomed you, helped you grow intellectually, and encouraged you on your journey .
    [Show full text]
  • 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.
    [Show full text]
  • “It's Not Personal, It's Drag”: the Sassy Politics of Rupaul's Drag Race
    Felipe González Silva 2078621G MLitt Film and Television Studies Dissertation – September 2015 “It’s Not Personal, It’s Drag”: The Sassy Politics of RuPaul’s Drag Race Supervised by Professor Karen Lury University of Glasgow Word count: 14,840 Beneficiario COLFUTURO 2014 Abstract After the success of reality competition shows such as Project Runway and America’s Next Top Model in the United States, RuPaul’s Drag Race reached the small screen to be the first TV programme of its kind to feature drag queens. Through textual analysis and theories of queer and feminist studies, this thesis joins the fundamental debates about drag and its role in society. With these debates as a starting point, this thesis is dedicated to determining the position of Drag Race within the tension between gay politics and queer politics that lies in the programme’s construction of what drag is supposed to be. By focusing on the relation of masculinity and femininity in drag, and on the role of sleaziness in drag, this thesis argues that RuPaul’s Drag Race refuses to be located unequivocally as a project of either gay or queer politics. This reading does not only propose an innovative take on the programme but it also manages to further problematise the distinction between the two “kinds” of politics. Key words: RuPaul’s Drag Race, drag, gay politics, queer politics, femininity, masculinity, sleaziness, gender, race ii Acknowledgements I would like to show gratitude to my supervisor, Professor Karen Lury. Her impressive knowledge and sensibility about television and academia in general, along with her commitment to my project, helped me develop this dissertation successfully.
    [Show full text]
  • 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.
    [Show full text]
  • Rupaul's Drag Race from Screens To
    ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada January 2020 Ó Max Mehran, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Max Mehran Entitled: ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ________________________________ Chair Luca Caminati ________________________________Examiner Haidee Wasson ________________________________Examiner Glyn Davis ________________________________Supervisor Kay Dickinson Approved by ________________________ Graduate Program Director Luca Caminati ________________________ Dean of Faculty Rebecca Duclos Date: January 20th, 2020 iii ABSTRACT ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran Since its inception, RuPaul’s Drag Race (Drag Race) (2009-) has pitted drag queens against each other in a series of challenges testing acting, singing, and sewing skills. Drag Race continues to become more profitable and successful by the year and arguably shapes cultural ideas of queer performances in manifold ways. This project investigates the impacts of exploitative labour practices that emerge from the show, the commodification of drag when represented on screen, and how the show influences drag and queer performances off screen.
    [Show full text]
  • 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.
    [Show full text]
  • The Fiercest Queens in the History of "Rupaul's Drag Race" Return to Battle It out on Logo's New Series "Rupaul's All Stars Drag Race"
    The Fiercest Queens in the History of "RuPaul's Drag Race" Return to Battle it Out on Logo's New Series "RuPaul's All Stars Drag Race" Pandora Boxx, Tammie Brown, Nina Flowers, Jujubee, Mimi Imfurst, Manila Luzon, Alexis Mateo, Chad Michaels, Raven, Latrice Royale, Shannel and Yara Sofia Vie to Secure a Spot in the "Drag Race Hall of Fame" and $100K Celebrity Guest Judges Include: Rosie Perez, Ross Matthews, Rachel Hunter, Vickie Lawrence, Busy Phillips, Rachel Dratch, Janice Dickinson, Wendy McClendon-Covey, Elvira, Beth Ditto and Cheri Oteri "RuPaul's All Stars Drag Race" Premieres Monday, October 22 at 9:00 PM ET/PT Followed by the Season Premiere of "Untucked: All Stars" at 10:00 PM ET/PT NEW YORK, Aug. 9, 2012 /PRNewswire/ -- They come armed with stilettos, feathers and sequins, prepared for a battle where one false move—or eyelash—could spell doom. They are the best-of-the-best, the top queens from "RuPaul's Drag Race" Seasons 1-4, and they're ready to lip-synch for their lives to determine which All-Star will walk away with $100K and a spot in the "Drag Race Hall of Fame." Join RuPaul as he welcomes back the most celebrated queens of the past for Logo's new series "RuPaul's All Stars Drag Race" -- the wildest, most jaw-dropping, and outrageous Drag Race yet. Comprised of six, one-hour episodes, "RuPaul's All Stars Drag Race" premieres Monday, October 22 at 9 PM ET/PT on Logo with a special "Rupersized" episode containing 10 bonus minutes.
    [Show full text]
  • 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.
    [Show full text]