#1999 american girl catalogue

[y2kbeautyandother2000sstuff]

American Girl Catalogue

Winter 1999

Found on toysandcollectiblesmuseum.org

[rcubens]

⚠️ CAUTION: ENTER AT OWN RISK! ⚠️

TASK 1.1 — Reuben's bedroom

Reuben canonically doesn’t have a room at Woodrow— sorry dani it’s too good of a slip up for me to not take advantage of 🫶🏽. I originally would’ve said garage for the vibes but it would make things overly complicated so why not the attic? He’s got somewhat of a bigger space than the other wards but no ensuite bathroom and a tight set of stairs up to his room. Not that it ever bothered Reuben opting to spend more of his time in common spaces, hoping someone would speak to him.

Reuben’s last time in his room was the summer of 1999, imagine Len’s Steal My Sunshine blasting out some speakers. The room itself looks like if the bully in a teen comedy threw up on a J Crew catalogue. The base is a preppy room with nautical bits and bobs and American flags, covered with posters of alt rock bands and bikini clad models. Perks of having a room far away meant Mrs. Tristan didn’t get to see 20-something year old Reuben’s idea of interior design all that often.

The room is a comfortable form of cluttered, not overbearing— just lived in. CD’s for all his favourite bands stacked up about knee high make navigating the room slightly treacherous. There’s a guitar he bought in high school to try to be the resident guitar guy™ of his friend group and impress a girl— he gave up about two months in when he wasn’t very good and she started seeing one of his friends. There are textbooks he never bothered to open from his classes at Georgetown that are now probably too old to sell. On the wall opposite his bed is a chunky silver CRT TV and copies of Metal Gear Solid, Spyro, Grand Theft Auto 2 and Tomb Raider. Though Richard wasn’t fond of video games in the game room, he bought the console for his dorm and lugged it back upstate post-grad. On the desk are photos of his parents and the house he grew up in. There’s not many photos, as he doesn’t like to ascribe them too much space in his mind.

As for hidden paraphernalia, in the top left desk drawer are Destiny’s Child The Writing’s on The Wall, Fiona Apple’s When the Pawn… and the Spice Girls Spice World— albums he really likes but is embarrassed to mention. All the way at the back of the top shelf in his closet is a pack of cigarettes he would occasionally smoke which is ironic given his current profession. On the same shelf is a box of unopened rubbers that expired in 1999.

[chronic-invisibility]

For some reason we still get American Girl catalogues in the mail every once in a while, and today’s featured two things that made me irrationally upset. First, they have two new “historical” dolls from the year 1999, which is Not History! I was born in 1998, that isn’t history yet! And they’re twins! And one of them has my birthname, but spelled differently (wrong)! And the second thing that made me upset is that they’re making 20th anniversary Wicked costumes to celebrate the show being on Broadway for 20 years! And the costumes look gorgeous! How dare they combine two of my biggest childhood special interests now that I’m a whole-ass adult? This absolutely sucks, I like desperately want those Galinda and Elphaba costumes, even though I can in no way justify buying them. So not fair!

[marzipanandminutiae]

this is meant in a discussion tone, not a combative one, just to be clear! your memories of the era are obviously just as real as mine!

I’m not exactly up on the line past Kit, much, but which ones are 13? all the ones I’m familiar with are 9 and turn 10 over the course of their stories, and Wikipedia lists them as “8-11 years old.” Felicity and Samantha were also 9-10, I remember that much, and looking at the character birthdays almost all of them seem to be around that range. I still don’t recall any 10-year-olds with highlights in 1999, though I was rather younger (could be regional; I grew up in an upper-middle-class suburb of Nashville, Tennessee)

tinted lip balm or lip gloss, maybe, for 10-year-olds. I still feel like it was uncommon- again, at least in my region -but I do remember Lip Smackers party favors and such

the other salient thing to me, and I mentioned this in another reblog, is that these dolls don’t look like the actual modern-line American Girl dolls from 1999

why wouldn’t they just use the existing patterns? surely they must still have them, and what could be more authentic? (spoiler: it’s because they don’t care about authenticity anymore). the dolls pictured above actually look like my memories of being a kid in 1999- not like a Delia’s catalogue run through TikTok filters, with some Grin Pins off in the corner to add insult to injury

American Girl’s new “ historical“ dolls are from 1999.

You know. 24 years ago.

This brand has officially become a parody of itself.

[timetravelingcourtney]

Doing doing (that’s the Law and Order doing doing):

I think I might be turning into an American Girl profiler. Case study #1:

Dolls etc purchased at a garage sale in an upscale neighborhood. Claimed they were in storage but elastic in clothing was clearly deteriorated from heat. I think they were stored in the garage.

Dolls are all stamped Pleasant Company. Kirsten’s dress is tagged 1994; she has an artist mark. Molly has no particularly distinguishing features. #19 also has an artist mark. Interesting but not terribly illuminating.

Clothes bin that came with dolls included the following:

Culotte Dress, In line skating and Earth Day outfits introduced in 1996.

Three sets of the Blue Ribbon Riding Outfit and a set of stirrups. This outfit was in production from 1998 - 2004.

Also came with a partial kitty cat costume in production from 1998-2002

Today Girl Outfit II introduced in 1998

AG Doll Outfit III introduced in 1999

Let it Snow Sleep Set introduced in 2006.

Dolls bodies, limbs, eyes and faces are in impeccable condition. Wigs on Molly and Kirsten are not.

Several outfits are missing pieces and there is no brush included.

Profile: The American Girl in question was 9-12 in the years 1996-1999. She was a passionate equestrian (aka “horsey girl”) and enjoyed affluence/privilege. She would have ordered from the catalogue instead of in store shopping (AG Place LA did not open until 2006 and items were purchased in SoCal). She was most likely brown haired and green eyed. In addition to horse back riding, she probably also roller bladed. The collection was probably passed to a younger cousin or niece who was not so careful with the dolls’ hair or accessories, much to the chagrin of the original owner. Based on my brief interaction, I don’t believe seller was either original owner or younger recipient. Original owner is currently about 35 years old and probably wishes she’d kept her dolls!

[rjsavagesayswhat]

JUNK FOOD: Miyazaki. My, oh my.

By the time my sibs were born I was already a highly opinionated young person, so they were reared on whatever I happened to be watching at any given moment. A lot had changed in my life—new house, new dad, new sibs—but I remained thoroughly myself through it all. Un/fortunately for my siblings this meant they were exposed to fringy things from early on.

​And in the mid-90s, Hayao Miyazaki was not a household name in central New York. It wasn’t until 1999 that Studio Ghibli's films traveled from Japan to be released in American theatres, and 2001’s Spirited Away cemented Miyazaki’s spot in the global film scene. Somehow, in 1997 I had a dubbed copy of My Neighbor Totoro that was played at least weekly on our giant tube set. I loveloveloved the movie and couldn’t believe no one had heard of it.

Folks: This movie is a treasure. And an ideal gateway film to the rest of the Miyazaki catalogue. Though the story is about a pair of sisters who are befriended by a giant spirit of the forest, the themes speak to the heart of human experience: family, love, ecology, self-respect. And these themes are carried throughout Miyazaki’s films, and almost always through a girl protagonist. The girls in these movies are smart and resourceful as they are thrust into unexpected challenges on terrain both familiar, and strange. That is, we follow these girls through inflection points when they must retain their self-awareness as circumstances change around them; they tackle the unfamiliar to keep and protect their sense of self because, ultimately, the self is HOME.

I’m not animated (alas), but Miyazaki’s girls spoke to me across language, culture, and distance. My family had changed shape. I was in a new house. I was suddenly connected to tiny babies. But Totoro remained, and then became a shared touchstone for the grown fam. It would have been easy to feel lost in the shuffle during so much change, but I didn’t. And I wasn’t. I hadn’t lost anything through these changes but, rather, had gained a family group to love and share with.

And by the time my sibs had become highly opinionated young people themselves, I’d ask them which Miyazaki they wanted to watch. To which they would reply, All of them! But Totoro first.

[deweyduck]

A list of Christmassy things you plan on watching this month, I really want to get into the Christmas spirit!

okay i've made a list of my fave christmassy things to watch/new things i plan to watch. i've sorted them into movies on disney+, shows on disney+, movies not on disney+, and shows not on disney+. but keep in mind that australia has a different catalogue on disney+ than the rest of the world (especially since we have star on there) and everything might not actually be on there for you.

💚 = a fave

❤️ = i haven't seen it before so it might end up being bad lol

movies on disney+

the nightmare before christmas (1993) 💚

the santa clause (1994) 💚

edward scissorhands (1990) 💚

the muppet christmas carol (1992) 💚

a muppet christmas: letters to santa (2008) ❤️

mickey's once upon a christmas (1999)

mickey' christmas carol (1983) 💚 [technically a short but i still love it a lot]

olaf's frozen adventure (2017) 💚 [also a short]

good luck charlie, it's christmas! (2011)

the ultimate christmas present (2000)

christmas... again?! (2021) [this is the newest dcom that just came out and is v cute]

miracle on 34th street (1994)

miracle on 34th street (1947)

winnie the pooh: a very merry pooh year (2002)

jingle all the way (1996)

noelle (2019)

godmothered (2020)

beauty and the beast: the enchanted christmas (1997)

home alone (1990)

home alone 2: lost in new york (1992)

the family stone (2005) ❤️

shows on disney+

ducktales (2017) - 02x06 "last christmas" 💚💚💚💚💚💚💚 [this is one of my absolute FAVOURITE episodes of ducktales but it has BIG SPOILERS if you're watching the show for the very first time. so please only watch if you've seen the show before/are currently watching and are up to this ep]

ducktales (2017) - 03x19 "how santa stole christmas" 💚 [ditto to the spoiler thing above]

kim possible - 01x16 "a very possible christmas" 💚

lizzie mcguire - 01x07 "aaron carter's coming to town" 💚

lizzie mcguire - 02x20 "xtreme xmas"

sydney to the max - 02x01 "how the syd stole christmas" 💚

that's so raven - 01x19 "escape claus"

american dragon: jake long - 02x16 "a hairy christmas"

phineas and ferb - 03x17a "a phineas and ferb family christmas"

sonny with a chance - 02x22 "a so random! holiday special"

the suite life of zack and cody - 01x21 "christmas at the tipton"

liv & maddie - 01x10 "fa-la-la-a-rooney"

liv & maddie - 03x09 "joy to-a-rooney"

liv & maddie - 04x06 "cali christmas-a-rooney"

good luck charlie - 03x20 "a duncan christmas"

big hero 6: the series - 02x18 "the present"

hannah montana - 03x05 "killing me softly with his height"

lilo & stitch: the series - 01x21 "topper"

even stevens - 01x15 "heck of a hanukkah"

phil of the future - 02x15 "christmas break"

gabby duran & the unsittables - 01x08 "it's christmas, gabby duran!"

the proud family - 01x11 "seven days of kwanzaa"

boy meets world - 01x10 "santa's little helper"

boy meets world - 04x12 "easy street"

boy meets world - 05x11 "a very topanga christmas"

boy meets world - 06x11 "santa's little helpers"

raven's home - 03x16 "bah humbugged"

recess - 02x11 "yes, mikey, santa does shave"

big city greens - 02x07 "green christmas" ❤️

stuck in the middle - 03x01 "stuck at christmas - the movie" ❤️

milo murphy's law - 01x20 "a christmas peril" ❤️

elena of avalor - 01x11 "navidad" ❤️

sofia the first - 01x24 "holiday in enchancia" ❤️

pepper ann - 03x06 "a kosher christmas" ❤️

the suite life on deck - 03x15 "a london carol" ❤️

best friends whenever - 01x12 "the girls of christmas past" ❤️

best friends whenever - 02x11 "the christmas curse" ❤️

i didn't do it - 01x20 "merry mis sis" ❤️

shake it up - 02x10 "jingle it up" ❤️

shake it up - 03x05 "merry merry it up" ❤️

high school musical: the musical: the series - 02x01 "new year's eve"

the muppets (2011) - 01x10 "single all the way" 💚

movies not on disney+

barbie in the nutcracker (2001) 💚💚💚💚💚💚💚💚💚💚💚

how the grinch stole christmas (2000) 💚

last christmas (2019) 💚

klaus (2019) 💚

the holiday (2005)

happiest season (2020)

barbie in a christmas carol (2008)

love actually (2003)

jingle jangle (2020)

let it snow (2019)

gremlins (1984)

a cinderella story: christmas wish (2019)

love hard (2021)

single all the way (2021) ❤️

a christmas dance reunion (2021) ❤️ [this has corbin bleu and monique coleman aka chad and taylor from hsm in it and i am 😭]

annabelle's wish (1997) ❤️

shows not on disney+

barbie dreamhouse adventures: go team roberts - 02x13 "dreamhouse holidays" 💚💚💚💚💚💚 [i'm sorry but this is literally the only non-disney christmas episode i can think of iushfushfusdhf these idiots truly have a hold on me]

[michaelfoote2000]

David Lynch & Surrealism: When the Non-Traditional Becomes Traditional

Often described as “one of the most unique visionaries working in cinema today,” it is not hard to see why director David Lynch and his unusual catalogue of work have garnered a lot of attention since the 80s (ScreenRant). Looking at his career holistically, it is evident how little his style has actually changed. Meanwhile, public perception of him and his productions has fluctuated quite a bit from decade to decade. After a somewhat uncertain start in the 1970s, he eventually rose to become arguably one of the most popular directors in the 21st century, which brought about strong implications for the world of independent cinema. The rise in popularity of David Lynch’s small but strong category of films brought about a wider acceptance of surrealist storytelling, as more audiences embraced the non-traditional storytelling so often associated with independent projects, further blurring the lines between industries and individuals.

David Lynch’s directorial debut, Eraserhead, actually serves as a perfect microcosm of his cinematic style and approach. First and foremost, it is utterly and proudly surreal. The entire film takes place in an ambiguous and unsettling interpretation of America – as many of his projects do – operating within a world that manages to both feel very familiar and very foreign at the same time. The film’s plot, focusing on a man and his grotesque, barely human child, is incredibly vague; Lynch keeps the purpose of the story open to interpretation, simply leaving the viewer with the shock and confusion at what they just watched. Eraserhead does not hold back: like many of Lynch’s films that follow it, it is gruesome, graphic, and sexual (ScreenRant). In other words, it had many of the characteristics that defined a number of flicks as independent cinema. Taking the risk of making such an off-putting movie did not come without its consequences, though.

Released to limited audiences in 1977, the film initially received a good amount of backlash. Variety denounced it as “unwatchable” due to the vagueness and brutality of its content, and since Lynch is notorious for refusing to give any clarification on most of his projects, interviewing him about the project provided no satisfying answers (Variety). It has since become something of a cult classic, embraced by fans of such dramatic and stupefying cinema (Chion 3). But it is easy to see why Lynch did not fit in with mainstream cinema at first. He made it clear that the kind of work he wanted to make did not have accessibility or comfort in mind. If Lynch wanted to be a surrealist director, it seemed he would have to accept that he would inevitably fail to capture the hearts of the average American viewers.

And yet, despite such a baffling first project, Lynch managed to break into Hollywood rather quickly. He found himself directing an adaptation of the science fiction novel Dune only seven years later in the mid-1980s. Much unlike his first work, Dune turned out to be very slow and boring. Its story is far more concrete, given it is drawing from a popular source text in a genre proven to have reliable appeal. The appeal did not transfer over, though; Dune was a commercial and critical flop (Hollywood Reporter). Lynch was not happy with it either; famously, there were a multitude of clashes and complications with the studio that led to the final release of the film differing greatly from his original four-hour vision. The disconnect is not only felt by Lynch, as Dune does stand out like a sore thumb amongst the rest of his filmography. It is considerably less obtuse and unusual than everything that came before and after, and yet still audiences refused to embrace it. The mainstream had rejected Lynch once again, who refused to be deterred.

Lynch stuck with his comfort zone and returned to writing and directing projects that outright ignored the mold in favor of the atypical (as independent filmmakers are known to do) (Nochimson 11). For instance, Blue Velvet was another clear example of Lynch’s untethered approach to storytelling, a late-80s suburban tale that was much more in line with his personal stylings than that of the mainstream movie circuit (Nerdist). Blue Velvet was a success, much more so than Dune or Eraserhead, but still did not become a Hollywood-level hit (Far Out Magazine). At this time, independent cinema had not quite reached the heights of popularity that it would soar to by the turn of the century. Audiences were not used to his level of surrealism…that is, until the arrival of a certain TV phenomenon. David Lynch’s first major foray into television was the mystery series Twin Peaks, premiering in 1990 on the ABC network. The opening episode was actually shot as a movie in case the show did not get picked up – and was even released as one outside of America with a more ‘concrete’ ending (well, concrete by Lynch’s standards). This premiere is arguably the most important work of David Lynch’s entire career, as it kickstarted what was his first project to really achieve true mainstream success. Its original run only lasted two years before a swift cancellation, but it made a huge impression on the audiences it did reach, especially after it took a hard turn into supernatural elements and had a massively ambiguous ending. Audiences were enthralled and intrigued after being hooked with the more mainstream premise of a teenage girl’s murder; Lynch had finally found a way to hook more viewers on to one of his non-standard projects (Nerdist). Thus, the attention achieved from the original finale of Twin Peaks (the only episodes he directed outside of the opening few of the first season) naturally had a very tangible impact on Lynch’s career.

After writing and directing another mind-bending independent film that came in the form of 1997’s Lost Highway, David Lynch signed on to direct the G-rated Disney romp The Straight Story (Filmmaker Magazine). This 1999 film is easily David Lynch’s most mainstream work. However, miniscule touches of his style are still prominent throughout the film. While it is the kind of saccharine story one would expect from Disney, it has a colorful cast of side characters (reminiscent of the residents of Twin Peaks) and its camerawork shares some broad similarities with Blue Velvet (Variety). All of this makes sense, given that The Straight Story was the first feature film that David Lynch directed while having no hand in the writing. Still, Lynch’s involvement in the project proved that Hollywood was finally recognizing his talents and seeking his unique style.

Ever since then, David Lynch has remained in the peripheral vision of mainstream audiences. While not quite a household name, his works have propelled him to being one of the more well-known American directors of the past half century or so. People retroactively began to look back on his older works and find renewed interest, turning Eraserhead and Blue Velvet into strong cult classics among film nerds alongside Twin Peaks. Concurrently, Lynch worked on a number of short films and shows across the 2000s, 2010s, and even into the 2020s. One of his most intriguing and baffling productions was a short, 60-second commercial he made for a Sony video game console, dubbed simply PlayStation 2: The Third Place. It is no more nonsensical than the rest of Lynch’s work, but it stands out because of its role as a promo for what would go on to be one of the best-selling video game consoles of all time. Even though it would be misguided to credit that all to Lynch’s advertisement, it nevertheless left a sizeable impact on a widespread audience, remaining in the memories of gaming communities for decades to come. In part thanks to the opportunity to reach wider audiences due to advancements made in the internet age, surrealist art was touching more people than ever and finding new audiences. Along with the rising popularity of independent film around the turn of the century, where non-traditional storytelling almost became its own miniature fad in Hollywood, David Lynch’s style was on its way to becoming mainstream.

What really cemented David Lynch in the hearts of cinephiles was his 2001 film Mulholland Drive. It felt like a perfect companion piece or spiritual successor to Twin Peaks with its interweaving plotlines, otherworldly side characters, and unclear lines of reality. The ending of Mulholland Drive is perhaps one of the most debated story moments of Lynch’s career because of just how surreal and non-linear it was. The film was quickly labeled one of the best films of the decade and has remained on many such lists in the following two decades (Nerdist). Since its release, Lynch has shifted his attention to television and other short-form content. He has continued to make surrealist short films like What Would Jack Do? that ended up on Netflix among other originals that became some of the most popular mainstream media of the decade. Meanwhile, he has used his YouTube channel to produce loads of short videos colored with his signature oddities, which consistently draw in thousands of viewers (Far Out Magazine). But the ultimate evidence of cultural power that Lynch managed to achieve – despite his rejection of mainstream filmic practices – was the story behind the Twin Peaks revival season that aired in 2017, known simply as The Return. A season that almost did not happen when executive and budget limitations stopped him from making the project, Showtime gave David Lynch completely free reign to make the 18-episode story he desired. It was slow, raw, abstract, uncomfortable – everything his works have come to be known for (Nerdist). And it was a massive success. Fans tuned in every week for to watch some of the most bizarre, dream-like television ever produced, proving that Showtime’s permission of creative liberties paid off.

Although Lynch may permanently shift mediums going forward, his surrealist style of storytelling will likely never dissipate. Not only is it essential to building the character of his works, it has become widely embraced across the nation as the appeal of his films (Creed 2). Lynchian surrealism brought him from the world of independent cinema to mainstream eyes, demonstrating how non-traditional storytelling has found popularity and widespread success with film audiences in recent years.

Want to learn more? My sources:

David Lynch by Michel Chion

The Passion of David Lynch: Wild at Heart in Hollywood by Martha P. Nochimson

The Untamed Eye and the Dark Side of Surrealism: Hitchcock, Lynch and Cronenberg by Barbara Creed

ScreenRant: https://screenrant.com/david-lynch-eraserhead-established-director-style/

Nerdist: https://nerdist.com/article/david-lynch-filmography-streaming/

Far Out Magazine: https://faroutmagazine.co.uk/david-lynch-career-eccentric-master-cinematic-surrealism/

Hollywood Reporter: https://www.hollywoodreporter.com/news/general-news/dune-review-1984-movie-953878/

Variety (1): https://variety.com/1999/film/reviews/the-straight-story-1117499811/

Variety (2): https://variety.com/1976/film/reviews/eraserhead-1200424018/

Filmmaker Magazine: https://filmmakermagazine.com/110889-theres-so-much-darkness-so-much-room-to-dream-david-lynch-on-lost-highway/#.YJK4JrVKiM9

[y2kbeautyandother2000sstuff]

American Girl Christmas Catalogue featuring Felicity Merriman

Holiday 1999

Found on Ebay, user Mor844567

[zackthebigpuppy]

Justine Kurland - (born 1969 in Warsaw, NY)

M.F.A. from the School of Visual Arts in 1996. She went to Yale University. She studied with Gregory Crewdson (Purchase graduate) and Philip-Lorca diCorcia and graduated with an M.F.A. in 1998.

Website: http://www.justinekurland.com/ https://www.miandn.com/artists/justine-kurland

 Featured Pictures –

· Sunset Beach -2000

· Broadway (Highway 10, Arizona) 2001

· Highway 2002

· Superstitious Mountain 2003

· The Cave 1998

· Bonfire 1999

· Feminine Hygiene 2000

 Books & significant catalogues

·      Justine Kurland: Spirit West (Coromandel, 2000)

·      Another Girl, Another Planet (Lawrence Rubin Greenberg / Van Doren Fine Art, 2001)

·      Old Joy (Artspace, 2004)

·      The Open Road: Photography & the American Road Trip (Aperture, 2014)

·      Highway Kind (Aperture, 2016)

[asfaltics]

unindations

  ane n inon un           1

—

enable unable   unénable enúnable   unúnable           2

at last, however, being ununable

unc. unca, unco           3

—

unck uncked ununcked           4

uncome uncomes come

uncomes           5

—

unda undula           6

inúndula uníndula uníndulata inúndulata           7

inundate unindate           8

vast mazy, unindating flood liable to unindation, and cut sometimes the unindation is so sudden the Unindation; or by unindation from           8a-e

indelible undelable unindelable           9

—

undern           10

undone undones           11

undex           12

—

undern days undones done quyk erthe among undure as lie is made

undure           13 unjure           14

—

unscape on the wish

nunscape anunscape ununskup           15

únsula únsular unwater           16

—

unwatered           17 unthing

unthis unthat unthis that thut thing

unsome unwhat

—

unsum unsong           18

eene verkorting von perhaps unsong is the name of the new art. unsong there were very few

undersome unsion unsions           19

unstruct unward

unhere unwhere

unward unwards           20

unword unwords these           21 unders

—

ununder   únununder unúnunder           22

un o n inen an           23

un  

sources and asides

1 "la ordenación silábica," ex Enrique de Vedia, El Arte de Leer Buenos Aires, 1905) : 31 as for an en in on un, numerous instances in grammars, shorthand and phonographic texts, and in Alexander Melville Bell, his Letters and sounds: an intr. to English reading, on an entirely new plan (London, 1855) : 77 2 ˈɛnable (initial emphasis, short "e") at last, however, being ununable from "Analyse de Bayle" in The Monthly Review (December 1756), and from James Lynd his The First Book of Etymology 1853 and — enénable — from Francis O. J. Smith his The Secret Corresponding Vocabulary 1845 3 unknown, strange, foreign Wright, English Dialect Dictionary previously encountered 4 ex Latin, lock, locked 5 an ulcerous swelling; unarrived (as of yet) uncomes come here, before 1999 6 Latin, wave. Ian Hamilton Finlay, UNDA (1987) undula, diminutive of unda 7 Bertholdia inundulata Rawlins (species of butterfly) * (Field Museum, Zoological Collections) 8 forms of unindate — typographical errors all — 8a vast mazy, unindating flood from A. Sanderson ("daughter of the late Robert Stephenson, Esq., Captain of the Northumberland Regiment of Militia"), "On the absence of friendship," in her Poems, on various subjects (North Shields, 1819) : 33 8b liable to unindation, and cut from T. Fraser, "Some Notes on Military Engineering Incidents, in the War of 1877-8," in Professional Papers of the Corps of Royal Engineers (Occasional Papers, v. 4, 1880; London, 1881) : 69-70 8c sometimes the unindation is so sudden, from "Hollanders' Care for their Cattle," The Farmers' Review (May 10, 1893) : 293 8d "The Unindation; or, Peace and Pardon," title of an illustration listed in an auction sales catalogue, The Anderson Galleries (1917) : 30 8e "by unindation by the Feather, but" in Thomas R. Jones, comp., "California, A Half-Century Back" in The Grizzly Bear (November 1915) : 2 9 his undelable due ex Walter Scott, his Anne of Geierstein (1829; an 1868 printing) here 10 O.E. undern, third hour, nine in the morning; morning; also, the forenoon; the period between noon and sunset; the evening. (in OE, ME, dialect.) undern days and, obs., OE ca 1225, "not hidden, open" (all OED) 11 "dones" and "undones," John Ruskin's discussion of, in letter of 1872 included in Arrows of the Chase (1880) : 208 — "...they will find it well, throughout life, never to trouble themselves about what they ought not to do, but about what they ought to do..." and "...the Undones are now the greatest Family in England, (thank this blessed Parliament...) I know no honest Man but is a Kin to the Undones; no Trade but is undone, no City but is undone; none but the knavish Committee-Men, Parliament-Men, Excise-Men, and their Vermin, the Soldiers, thrive in these days; they get, and grow rich, whosoever looses..." ex The Parliament Arraigned, Convicted; Wants nothing but Execution... Written in the Year of Wonders, being the Eighth Year of the Lords and Commons dissembled at Westminster; by Tom Tyranno-Mastix; alias, Mercurius Melancholicus... Printed for the Public View of all His Majesty's faithful Subjects; and are to be sold at the old Sign of You may go Look (1648) : 23 12 undexical index, pointing unwhere; and und ex und 1895, and elsewhere. to unsay, to make unknown 13 undure : unhard, i.e., soft, crumbled "quyk erth" ex Palladius on husbandrie (Barton Lodge, ed., 1879) to impart artificial flavours, ca. 1420 14 from Latin iniūria (“injustice; wrong; offense”), from in- (“not”) + iūs, iūris (“right, law”) unjure, what, to de-legalize? to un-law something? unright it? 15 to be anunscape is to be in a fidgety, uneasy state... Lit., it means "on the wish," i.e., very eager or desirous about a thing; cf. Dan önske, to wish. ex C. Clough Robinson, A Glossary of Words Pertaining to the Dialect of Mid-Yorkshire; with others peculiar to Lower Nidderdale... (London, 1876) : 93. 16 sular water, waters, of waters, to waters ex J. Dyneley Prince, "Tatar Materials in Old Russian," in Proceedings of the American Philosophical Society (1919) unwater : to free a mine of water, to drain of water, to carry off water from OED that reports the word to have appeared as a mistranslation in a1300 E.E. Psalter — and watres outran, and scaldand and unwatred... 17 unwatered : not so watered OED, see water, vb. 9 to produce a moiré or wavy lustrous finish on (silk or other textile fabrics) by sprinkling them with water and passing them through a calendar. 1708 No two pieces were ever water'd alike OED the term came up (25 October 2018) in Jennifer Roberts her talk on "The Moiré Effect: Robert Rauschenberg, Print, and Interference" 18 unsum, an OCR misread here and there, among them a passage in what appears (from imperfect scan) to be "Aanmerkingen op de Javaansche spraakkunst" in Tijdschrift voor Nederlands Indië 6 (Batavia, 1844) : 22 unsong : Carl Van Vechten (1880-1964 *) on opera soprano Mary Garden (1874-1967 *), in The Merry-go-round (1918) : 115 (there's a Gertrude Stein connection to Garden and Van Vechten) unsong there were very few ex B. C. De Lissa, "British North Borneo" in Proceedings of the Geographical Society of Australasia (1884) here 19 unsion an OCR misread for unction that I would pass over in silence (or delete entirely), save that it occurs in Joseph Bellamy, his True Religion Delineated; Or, Experimental Religion, Distinguished from Formality on the one hand, and Enthusiasm on the other, set in a Scriptural and Rational Light, in Two Discourses. With a preface by Mr. [Jonathan] Edwards (Second Edition, London, 1788) : 73 why? a detour into experimental reading led to experimental preaching and religion, and — for the latter — a brief intersection with experimental science. a long-ago asfaltics post — comfortlesse, swimming notions — provides a hint of (and entrance point to) some diversions on experimental religion and experimental reading. 20 unwards most frequently found as OCR misread for "upwards" 21 unwordy, a dialect form of unworthy (Wright, English Dialect Dictionary; unword, obs., rare, to make speechless (OED) 22 ...the un—un—under, no, the un—under—un—no... ex "Harry’s Secret." Two Scenes. Four Characters: One Boy and Three Girls. in Robert St. John Corbet, his Uncle Grumpy : And Other plays for juvenile actors and actresses (London, 1880) : 26 23 un on in en on is several-wheres, including Bastiaan Cramer, his De geheel vernieuwde en verbeterde Trap der jeugd... Spel-Lees-Schrift en Taal-Kunst... (1804; 1862) :5

—

method — initially, extrapolate from existing forms, to others; without euphony, nothing; no attempt at completion; started with sound, in fact... but got waylaid (by sourcings); sound remains.

among sources or, more often, looks to see if a particular form existed, were — the OED, the Century Dictionary and Cyclopedia, and — most importantly — Joseph Wright his English Dialect Dictionary Volume VI. T-Z (1905), where the prefixed un doesn't always mean "back" or to "undo" a thing or action.

—

...a bad linguist, tangling my words at will. — Jessica J. Lee, turning, a swimming memoir (2017) : 212

—

all tagged un all tagged excess  

[aion-rsa]

Disney+ UK Star Launch: Complete List of New TV Shows and Films

https://ift.tt/2P7STsN

We came for The Mandalorian, stuck around for WandaVision, and, as we wait for The Falcon and Winter Soldier and Loki to arrive, there’s now a huge pile of new catalogue additions to work through, courtesy of Disney Plus’ Star brand.

Star launched on the Disney Plus streaming service in territories outside of the US (where Disney already has a home for adult drama in Hulu) on the 23rd of February. It’s added over 75 TV shows and 280 feature films here in the UK, including the entirety of Lost, Buffy the Vampire Slayer, The X-Files, Glee, Prison Break, Sons of Anarchy and Scrubs as well as cult favourites Firefly, Flashforward, Terriers and more. There are also some UK debuts in the form of the Star Originals listed below.

Film-wise, there’s ample reason to go back to the 90s in the form of Arachnophobia, Robin Hood: Prince of Thieves, Con Air and a host of others, plus…well, it’s almost 300 films. Chances are you’ll find something to tickle your fancy. Households with kids should know there are new parental controls to set too, ensuring that nobody gets any unwelcome surprises.

Here’s the complete list of titles so far:

Star Originals

Big Sky

From Mr TV himself, David E. Kelley (Doogie Howser, Chicago Hope, Ally Mcbeal, Big Little Lies) comes a nine-part crime thriller starring Ryan Philippe and Vikings‘ Katheryn Winnick. Based on the 2013 novel The Highway by C.J. Box, Big Sky is the story of a series of missing girls and a private detective/cop trio with a messy personal history who team up to find them. It aired on ABC in the US last winter.

Helstrom

There’s very little fanfare for this comic book show‘s UK debut, which met with mostly negative reviews on release and was cancelled after 10 episodes, but Marvel completists will want to take a look. Tom Austen and Sidney Lemmon play the Helstrom siblings Daimon and Satana, the children of serial killers who hunt down the worst of humanity.

Love, Victor

Another Hulu original making its UK debut, this teen drama spins off from celebrated gay teen 2018 film Love, Simon. It’s narrated by Nick Robinson, who played Simon in the original film, and follows the story of a Puerto-Rican/Colombian-American teen living in Atalanta. Reviews for the 10-part first season were strong and it’s been renewed for a second.

Solar Opposites

Rick and Morty‘s Justin Roiland and Star Trek: Lower Decks‘s Mike McMahan are the creators of this adult animated comedy series about a family of aliens (pictured above) forced to seek refuge in middle America. Season one was enthusiastically received, and a second run is due to air in the US in March. Read plenty more about it here.

TV Series

According To Jim, Seasons 1 – 8 Alias, Seasons 1-5 American Dad, Seasons 1-16 Animal Fight Night, Seasons 1-6 Apocalypse World War I, Season 1 Apocalypse: The Second World War, Season 1 Atlanta, Seasons 1-2 Blackish, Seasons 1-5 Bloody Tales Of Europe, Season 1 Bloody Tales Of The Tower, Season 1 Bones, Seasons 1-12 Brothers & Sisters, Seasons 1-5 Buffy The Vampire Slayer, Seasons 1-7 Buried Secrets Of WWII, Season 1 Burn Notice, Seasons 1-7 Castle, Seasons 1-8 Code Black, Seasons 1-3 Cougar Town, Seasons 1-6 Desperate Housewives, Seasons 1-8 Devious Maids, Seasons 1-4 Drugs, Inc. Seasons 2-7 Family Guy, Seasons 1-18 Feud: Bette And Joan, Season 1 Firefly, Season 1 Flashforward, Season 1 The Fosters, Seasons 1- 5 The Gifted, Seasons 1-2 Glee, Seasons 1-6 Grey’s Anatomy, Seasons 1-15 The Hot Zone, Season 1 How I Met Your Mother, Seasons 1-9 Inside North Korea’s Dynasty, Season 1 The Killing, Seasons 1-4 LA 92 Lance, Season 1 Lie To Me, Seasons 1-3 Lost, Seasons 1-6 Mafia Confidential Maradona Confidential Mars, Seasons 1-2 Modern Family, Seasons 1-8 O.J.: Made In America Perception, Seasons 1-3 Prison Break, Seasons 1-5 Raising Hope, Seasons 1-4 Resurrection, Seasons 1-2 Revenge, Seasons 1-4 Rosewood, Seasons 1-2 Scandal, Seasons 1-7 Scream Queens, Seasons 1-2 Scrubs, Seasons 1-9 Sleepy Hollow, Seasons 1-4 Snowfall, Seasons 1-3 Sons Of Anarchy, Seasons 1-7 The Strain, Seasons 1-4 Terra Nova, Season 1 Terriers, Season 1 Trust, Season 1 Ugly Betty, Season 1-4 Ultimate Survival WWII, Season 1 Valley Of The Boom, Season 1 Witness To Disaster, Season 1 WWII Bomb Hunters The X-Files, Season 1-9 The 2000s: The Decade We Saw It All, Season 1 24, Season 1-9 24: Legacy, Season 1 The 80s: The Decade That Made Us, Season 1 9/11 Firehouse The 90s: The Last Great Decade? Season 1 9-1-1, Season 1-2

Read more

TV

WandaVision Episode 7 Theories Explained

By Kirsten Howard

TV

Gina Carano Was Fired from The Mandalorian, But Should Cara Dune Live On?

By John Saavedra

Films

The 13th Warrior 42 to 1 9 to 5 Adam (2009) The Air Up There The Alamo (2004) Anna And The King Annapolis Another Earth Another Stakeout Anywhere But Here Arachnophobia Australia Bachelor Party Bad Ass Bad Company (2002) Bad Company (Aka: Tool Shed) Bad Girls (1994) Bad Times At The El Royale Baggage Claim The Banger Sisters Be Water Beaches Before And After (1996) Belle Beloved (1998) The Best Exotic Marigold Hotel Best Laid Plans Big Trouble Billy Bathgate Black Nativity Borat: Cultural Learnings Of America For Make Benefit Glorious Nation … Boys Don’t Cry Braveheart Breaking And Entering Bringing Out The Dead Broadcast News Brokedown Palace Broken Lizard’s Club Dread Brothers In Exile Brown Sugar Bubble Boy Bulworth Bushwhacked Can’t Buy Me Love Casanova (2005) Catch That Kid Cedar Rapids Chain Reaction Chasing Papi Chasing Tyson Choke The Clearing Cleopatra (1963) Cocktail Cocoon: The Return Cold Creek Manor The Color Of Money Come See The Paradise The Comebacks Commando (1985) Con Air Conan The Barbarian Confetti Consenting Adults A Cool Dry Place Cousin Bette Crazy/Beautiful Crimson Tide The Crucible Cyrus Damien – Omen Ii The Darjeeling Limited Dark Water Dawn Of The Planet Of The Apes The Day The Earth Stood Still (2008) The Day The Series Stopped Day Watch Deadpool 2 Dead Presidents Deceived (1991) The Deep End Deep Rising Deion’s Double Play The Devil Wears Prada Devil’s Due Die Hard 2 Die Hard With A Vengeance Double Take Down And Out In Beverly Hills Down Periscope Dragonball: Evolution Dreaming Of Joseph Lees Drive Me Crazy The Drop Duets The East Ed Wood The Edge Encino Man Enemy Of The State Enough Said Evita Exodus: Gods And Kings The Fab Five (2011) Far From The Madding Crowd (2015) The Fault In Our Stars The Favourite The Final Conflict Firestorm (1998) The Fly (1986) For The Boys Four Falls Of Buffalo French Connection II The French Connection From Hell Gentlemen Broncos A Good Day To Die Hard Good Morning, Vietnam The Good Son (1993) A Good Year The Grand Budapest Hotel The Great White Hype Grosse Pointe Blank Guilty As Sin Gun Shy The Happening Here On Earth High Fidelity High Heels And Low Lifes Hitchcock Hoffa Holy Man Hope Springs (2003) I Heart Huckabees I Love You, Beth Cooper I Origins I Think I Love My Wife Idiocracy In America In Her Shoes Independence Day Independence Day: Resurgence Inventing The Abbotts Jennifer’s Body The Jewel Of The Nile John Tucker Must Die Johnson Family Vacation Jordan Rides The Bus Joshua Just Married Just Wright Kingdom Come Kissing Jessica Stein Kung Pow: Enter The Fist Ladyhawke The Ladykillers (2004) Last Dance (1996) Le Divorce The League Of Extraordinary Gentlemen The Life Aquatic With Steve Zissou Live Free Or Die Hard Looking For Richard Mad Love (1995) The Man From Snowy River Margaret The Marine Marked For Death The Marrying Man Martha Marcy May Marlene MASH Max Payne The Maze Runner Medicine Man Melinda And Melinda Metro Miami Rhapsody Miller’s Crossing Moulin Rouge (2001) My Father The Hero Mystery, Alaska The Namesake Nature Boy Never Die Alone The Newton Boys Night Watch (2006) No Mas Nothing To Lose Notorious Office Space One Hour Photo Oscar And Lucinda The Other Woman (2014) Our Family Wedding Out To Sea Pathfinder (2007) Phat Girlz Phone Booth Planet Of The Apes (1968) Planet Of The Apes (2001) Pony Excess The Poseidon Adventure (1972) Post Grad Powder The Preacher’s Wife Pretty Woman Primeval The Puppet Masters The Pyramid Quills Quiz Show Ravenous Rebound Renaissance Man Revenge Of The Nerds Ii: Nerds In Paradise The Ringer Robin Hood (1991) The Rocker Romancing The Stone Ruby Sparks Runaway Bride Rushmore Ruthless People The Savages Say It Isn’t So The Scarlet Letter Sea Of Shadows The Secret Life Of Bees Separate Lies The Sessions Shadow Conspiracy Shallow Hal Shining Through The Siege Signs Simon Birch A Simple Twist Of Fate The Sitter (2011) Six Days, Seven Nights Sleeping With The Enemy Solaris Someone Like You Soul Food Spy Hard Stakeout Starship Troopers Stoker Summer Of Sam Super Troopers (2002) Surrogates Swing Kids Taxi (2004) Terminal Velocity Thank You For Smoking There’s Something About Mary The Thin Red Line (1999) Three Billboards Outside Ebbing, Missouri Three Fugitives The Three Stooges (2012) Titan A.E. Tombstone Toys Trapped In Paradise Tristan & Isolde Up Close & Personal V.I. Warshawski Veronica Guerin The Village (2004) Von Ryan’s Express Waiting To Exhale Waitress Waking Life The War Of The Roses The Watch (2012) The Waterboy The Way Way Back What’s Love Got To Do With It When A Man Loves A Woman White Men Can’t Jump William Shakespeare’s Romeo + Juliet Win Win Woman On Top Working Girl (1988) The X-Files

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The X-Files: I Want To Believe

Disney+ UK, now including Star is available for £7.99 per month

The post Disney+ UK Star Launch: Complete List of New TV Shows and Films appeared first on Den of Geek.

from Den of Geek https://ift.tt/3upvFOY

[kitmcroninillustration]

‘The Colour of children’s gender stereotypes’ -  Rachel Karniol (2011)

Colour and Gender Stereotyping

Colours are often gender-stereotyped. In many countries, adults have different colour preferences for male versus female children and from birth, infants and children are exposed to colours that reflect their gender. Girls clothes, toys, and rooms in Canada (e.g., Pomerleau et al. 1990) and the United States (e.g., Shakin et al. 1985) are coloured in variations of pink, and boys clothes, toys, and rooms are coloured in variations of blue. This gender-based colour dichotomy extends to the pink versus blue congratulations cards for new born girls versus boys in the United States (Bridges 1993) and the preponderance of pink Halloween costumes for girls (Nelson 2000). Girls Lego world and Barbies social world are both dominated by pink (Falkstrm 2003) and the pink Power Ranger was the sole female in this popular children’s show. A content analysis of toy ads shows that pastels, primarily pink and purple, are used only for girls toys (Pennell 1994).

Red and green are also differentially associated with females and males. In a study of American mail-order catalogues, red was significantly more often associated with women’s, and not with men’s clothing (Frank 1990). In fact, Scherbaum and Shepherd (1987), who discuss a societal aversion to men wearing red (p. 398), found that males dressed in red were perceived by American participants as improperly attired as compared to ones in blue and as compared to women dressed in red. As for green, women prefer warm colours and green is viewed as one of the cold colours (DeLong and Cerny 1983). In fact, green is twice as prevalent in male versus female infants birth congratulations cards in the United States (Willer 2001) and an infant dressed in a blue/green striped shirt was confidently judged by American participants to be male rather than female (Leone and Robertson 1989).

In this light, colour plays an important role in children’s emergent gender stereotyping. First, reliance on colour allows children to disambiguate gender-ambiguous contexts. To elaborate, in a study with American 25 year-olds (Cherney et al. 2006a), children were shown photographs of new toys from a toy catalogue. Each toy had been classified by adults as appropriate for males, for females, neutral, or ambiguous. Colour was the primary justification in children’s classification of ambiguous toys as more appropriate for one versus the other gender. Across all toys, boys and girls did not differ in their citation of colour as the reason for classifying a given toy as more appropriate for a given gender, suggesting that even at this young age, both male and female children clearly associate colour and gender. About 95% of the children identified pink as a colour for girls whereas blue was somewhat less strongly associated with boys.

Second, colour drives stereotyped-based expectations as to the association of objects, clothing, dispositions, and activities with individuals of a given gender. For instance, as remarked by a 6-year-old American boy, if girls are going to play with trucks, they’d better play with girl trucks namely, pink ones (Gelman et al. 2004, p. 105). Even 1824-month-old North American infants associate pink with females and blue with males, as evident in a selective looking task involving violations of gender-based expectancies (Eichstedt et al. 2002). In a recent study conducted in Britain (Tenenbaum et al. 2010), drawings of figures wearing green were generally identified as boys by 6-year-old children. Similarly, Picariello et al. (1990) had 36 year old American children choose which of twin dolls, dressed in pink and blue, was associated with different adjectives (e.g., strong/gentle) and professions (firefighter/ nurse). Stereotyping increased with age, and at all ages, colour of clothing impacted children’s impressions of the weird twin.

Although there were no reported effects of gender in the above study, boys anecdotal comments are consistent with their greater distortion of gender counter-stereotypic information. Thus, a first grader insisted that a male twin, labelled clearly with a male name, but dressed in pink, was nonetheless a girl, a phenomenon Martin and Ruble (2010) discuss as identity negation. Identity negation could be interpreted as reflecting lack of gender constancy, but boys and girls of these ages do not differ in their levels of gender constancy (Karniol 2009; Levy and Carter 1989) and gender constancy at these ages does not generally predict diverse measures of gender stereotyping or gender-stereotyped behaviour (e.g., Gelman et al. 1986; Lobel and Sex Roles (2011) 65:119132 121

Menashri 1993; Serbin and Sprafkin 1986). In fact, the preponderance of evidence suggests that boys are more highly gender-stereotyped (e.g., Urberg 1982), their gender stereotypes are less flexible and more stringently held (e.g., Archer 1984; Bussey and Bandura 1999), and they engage in more distortion of gender counter-stereotypic information (e.g., Carter and Levy 1988). Maccoby (1998) contends that as part of developing a gender-based group identity, children engage in behaviours that mark themselves off from the other gender symbolically (p. 44) and that boys are more concerned with distinguishing themselves from girls than vice versa.

The rigidity of boys gender stereotypes may partially reflect the greater restrictiveness of parents with respect to gender counter-stereotypic behaviour in boys than in girls (e.g., Kane 2006). Thus, American parents hold more rigid stereotypes of males (e.g., Leaper 2002) and exert greater pressure towards conformity to gender-stereotyped behaviour in boys (Leaper and Friedman 2007). American parents apparently also actively prevent young boys from using female-stereotyped toys (e.g., there’s not many toys I wouldn’t get him, except Barbie, Kane 2006, p. 160), and female-stereotyped colours (e.g., He likes pink and I try not to encourage him to like pink just because, you know, he’s not a girl, Kane 2006, p. 160). In Spain as well, boys are apparently never dressed in pink (de Miguel 1984).

Parallel social forces may well account for girls use of a greater variety of colours. If there are fewer restrictions on girls in terms of their behaviour in gender-related domains, girls would be expected to be more flexible in their adoption of stereotypes related to gender and to colour. In fact, both male and female British children view male gender roles as more rigidly proscribed (e.g., Henshaw et al. 1992). Importantly, then, because selves are themselves gendered, they necessarily play a role in the way they structure and conceptualize the social world and the gender stereotypes that are embedded in it.

 The Gender-Stereotyped Nature of Illustrations

Colouring itself can be a gendered activity. Although there are colouring books geared to both boys and girls, many colouring books are geared specifically for one gender, as found in a recent analysis of randomly selected colouring books in the United States (Fitzpatrick and McPherson 122 Sex Roles (2011) 65:119132 2010).

Colouring books for girls are dominated by fairies, princesses, and various fashion dolls whereas colouring books for boys feature vehicles, weapons, and action figures (e.g., Fitzpatrick and McPherson 2010). In Britain, colouring books featuring Disney-type princesses are generally the top selling ones for girls and ones featuring action heroes are the top sellers for boys (e.g., Lights, Camera, Action 2007). Children’s colouring books, therefore, provide rich contexts for examining children’s gender stereotypes in their use of colour as it relates to different types of illustrations.

What constitutes a gender-stereotyped illustration? Gender is often cued by name (e.g., Mickey/Minnie Mouse), appearance (including clothing and long hair, Hodge and Tripp 1986), and the gender-stereo typicality of the activities engaged in (Arthur and White 1996). The use of children’s toys in general, and those based on media figures in particular, as illustrations in children’s colouring books necessarily raises the issue of the gender-differentiation of toys. Adults use gender-related cues to differentiate the world of toys into male-appropriate and female-appropriate ones. On a scale of 19 with the end points representing appropriate only for girls or appropriate only for boys, adults rated a Mickey Mouse toy as5.01but the equivalent Minnie Mouse toy was rated 3.33 on the same scale (Campenni 1999). Similarly, the Power Rangers, Batman, and other male superheroes were rated higher than 6 on the same 9-point scale but female superheroes were rated only 3.22, (Campenni 1999), clearly showing that adults dichotomize the world of children’s toys.

The relevant question, though, is what constitutes a gender-stereotyped figure for children? Dolls, especially fashion dolls, and action figures are probably the most gender-stereotyped of all children’s toys. By 24 months, girls look more often at drawings of dolls than of cars whereas boys evidence the opposite pattern (Jadva et al. 2010). By age 3, girls select Barbies and other dolls more often to play with and by age 5, boys select more action figures to play with than do girls (Servin et al. 1999). Nelson (2005) found that boys rooms included more male figures, especially adult male action figures, whereas girls rooms included more female figures, especially baby and child figures. Of course, the content of young children’s rooms reflects both parental and children’s preferences (cf., Rheingold and Cook 1975). Yet apparently, toy purchases that reflect children’s requests are more gender-stereotyped than ones that reflect parental preferences (Fisher-Thompson 1993) and children’s Christmas toy requests are highly gender-stereotyped, with British boys asking for and getting more action figures, and girls, asking for and getting more dolls (Robinson and Morris 1986). In American children’s letters to Santa, 45% of

girls asked for Barbie dolls and 45% of boys asked for various action figures (Otnes et al. 1994).

In fact, sales of Barbie dolls and accessories account for worldwide annual sales ranging from 1 to 2 billion dollars (Casey 2008; Stanley 2005). Young girls also own other types of dolls, including Disney dolls, and Disney Princess play is also prevalent in the United States (Wohlwend 2009). As well, by 2006, approximately 120 million Bratz dolls were sold all over the world (Felgner 2006) and Bratz dolls accounted for about 40% of fashion doll sales in 2006 (McAllister 2007). The fact that Bratz did not replace Barbie in girls preferential world indicates that both types of dolls are favoured by girls. Unsurprisingly, Bratz dolls are assigned scores of 1.53 by adults, with 1 indicating only for girls and 9 indicating only for boys (Blakemore and Centers 2005).

In a parallel fashion, male action figures, which accounted for about 1.3 billion dollars in worldwide sales in 2006 (Ebenkamp 2006), are stereotypically associated with boys. In particular, both Batman and Superman are recognizable superheroes even by individuals who have never read a comic book (Bongco 2000), possibly because of their prevalence in toy stores all over the world (Fleming 1996). They have become what Macdougall (2003) calls transnational commodities. Batman in particular appears to hold a special fascination for boys (e.g., Gardner 1982), with a Warner Brothers executive commenting that Batman is literally part of the process of boyhood, especially for 611 year olds (Cooney 2004, p. 148). This fascination is evident in boys tendency to draw male superheroes, including Batman, in their spontaneous drawings (Gardner 1982; McNiff 1982). Importantly, boys play with action figures (Marsh 1999), not with dolls, denying vehemently their association with dolls (e.g., preschool boys protest Only girls play with dolls! and boys don’t have dolls, Lowe 1998, p. 218). This dissociation is also evident when in a letter to Santa a boy declares, No Barbie stuff because I’m a boy! (OCass and Clarke 2002, p. 44). In fact, playing with Barbie dolls is taken to be a sign of gender-variance (e.g., Gerouki 2010) and boys tease each other with accusations of playing with Barbie dolls (Renold 2004). In this light, then, illustrations of dolls and action figures are clearly gender-stereotyped in the eyes of children and adults.

https://www-proquest-com.ergo.southwales.ac.uk/docview/871984689?OpenUrlRefId=info:xri/sid:primo&accountid=15324 

[newstechreviews]

As expected, Jennifer Lopez and Shakira brought everything to their historic Super Bowl 2020 Halftime Show on Sunday evening at the Hard Rock Stadium in Miami Gardens. It was a rollicking, festive show that highlighted both performers’ extensive back catalogues of hits, super-charged by guest appearances from fellow Latin artists Bad Bunny and J Balvin. But they also made sure to nod at the importance and political potential of the moment, showcasing support for Puerto Rico and recognizing the immigration crisis with their set pieces. Here were the biggest moments of the Super Bowl LIV halftime show, which was ultimately a high-energy, sparkling celebration of dance and Latin pop. (Even Lady Gaga agrees.)

Shakira puts on a powerhouse show

Getty Images—2020 Getty ImagesShakira performs onstage during the Pepsi Super Bowl LIV Halftime Show at Hard Rock Stadium on February 02, 2020 in Miami, Florida.

Shakira kicked things off, dressed in glittering red with a veritable army of female dancers at her command. She ran through her biggest songs, including “She Wolf,” “Whenever, Wherever” and “Hips Don’t Lie.” She whipped out her notorious belly-dancing skills, played a searing guitar (Shakira was a rock star before she went pop) and crowd-surfed her way through a mosh pit. There was a horn section and a salsa dance break. And when she closed out with “Hips Don’t Lie” and the famous “No fightin'” intro to that song, the crowd went wild. (Also notable: her playfulness with the camera, including a meme-worthy moment.)

Bad Bunny brings the heat

Getty Images—2020 Getty ImagesColombian singer Shakira and Puerto Rican singer Bad Bunny perform during the Pepsi Super Bowl LIV Halftime Show at Hard Rock Stadium on February 02, 2020 in Miami, Florida.

In a surprise appearance, Shakira brought out Puerto Rican rapper and singer Bad Bunny for an energetic cover of Cardi B’s 2018 hit “I Like It” halfway through her set. (Bad Bunny is one of the original featured artists on that song, delivering a verse in Spanish.) They also sang Shakira’s Spanish-language hit “Chantaje” together, with Bunny filling in for Colombian singer Maluma.

Jennifer Lopez continues the party — and takes to the pole

Getty Images—2020 Getty ImagesJennifer Lopez performs onstage during the Pepsi Super Bowl LIV Halftime Show at Hard Rock Stadium on February 02, 2020 in Miami, Florida.

The Halftime Show transitioned directly over to Lopez for a rousing set that she kicked off with her classic song “Jenny from the Block,” surrounded by a cadre of dancers, decked out in black leather and dancing exuberantly. But the highlight came after Lopez made a costume change to a sparkling body suit and sang “Waiting for Tonight” while pole dancing, putting to excellent use the skills she honed while filming for Hustlers. Lopez cycled through songs including “Love Don’t Cost a Thing” and “On the Floor” before ceding the stage to her daughter and a chorus of girls to start off “Let’s Get Loud.”

J Balvin comes in for “Mi Gente”

AFP via Getty ImagesUS singer Jennifer Lopez and Colombian singer J Balvin perform during the halftime show of Super Bowl LIV between the Kansas City Chiefs and the San Francisco 49ers at Hard Rock Stadium in Miami Gardens, Florida, on February 2, 2020.

Colombian reggaeton star J Balvin showed up for a cameo in Lopez’s set with his hit song “Mi Gente.” Mi Gente had featured Beyoncé in a 2017 remix; this time, Lopez accompanied the Latin music superstar. The message of “Mi Gente” is one of Latin unity, making it an especially apt choice for the Super Bowl set.

Lopez’s daughter shines

Lopez’s 11-year-old daughter Emme got her time to shine as well — and to prove she follows in her mom’s footsteps — coming out to sing with a chorus of girls for a sweet rendition of the Lopez classic “Let’s Get Loud;” the camera also panned over to Shakira during the song, who was playing the drums.

#JLo brought her daughter out. That's cute 💜💙💜 #PepsiHalftime pic.twitter.com/ETsYRSKJpB

— TwinFangirl 💜 Still Learning (@twin_fangirl) February 3, 2020

Puerto Rico gets a spotlight from Lopez

AFP via Getty ImagesUS singer Jennifer Lopez performs during the halftime show of Super Bowl LIV between the Kansas City Chiefs and the San Francisco 49ers at Hard Rock Stadium in Miami Gardens, Florida, on February 2, 2020.

For “Let’s Get Loud,” Lopez appeared draped in a giant flag coat — one side featuring the red, white and blue of Puerto Rico, and the other the red, white and blue of the U.S. It was a poignant — and pointed — show of support to the territory, which was recently hit by a damaging earthquake.

A statement on immigration injustice adds gravity

In a marked gesture of solidarity toward the Latin community and those impacted by anti-immigration policies, the set design featured glowing cages housing child performers. To drive the point home, they sang a snippet of “Born in the U.S.A.”

Props to Jlo, Shakira and/or the choreographer for the necessary statement with Latino children in cages singing""Born in the USA". #SuperBowl #SuperBowl #PepsiHalftime pic.twitter.com/gyQDsmXo3l

— Tom Moore (@tom_moore_104) February 3, 2020

While #SuperBowl halftime shows aren't exactly known for being hotbeds of political activism, I'm giving JLo and Shakira 💯 for the kids in cages/"Born in the USA"-Puerto Rico flag shade.

— Roopika Risam (@roopikarisam) February 3, 2020

A “Waka Waka” finale with Cheer

Shakira threw it back to her 2010 World Cup song “Waka Waka” for their joint finale, which also featured some exuberant cheerleading-style basket tosses. (Fans of Netflix’s latest hit documentary series Cheer will have been reminded of the athletic feats seen on that show, as the Halftime Show dancers were thrown up into the air for the dramatic finish.) Lopez and Shakira closed out their set with impressive synchronized shimmies, the ultimate power move.

Sweet Jesus.#SBLIV pic.twitter.com/MEzK66nUxd

— Allan Bell (@AllanBell247) February 3, 2020

Together, the duo made history

Lopez and Shakira were the first Latin artists to co-headline America’s most-watched annual event, and the first pair of female artists to share top billing. (Gloria Estefan was part of the 1992 and 1999 halftime shows, and sent her support for Lopez and Shakira, both of whom she has written songs for.)

El mejor regalo de cumpleaños ha sido sentir el apoyo de todos mis fans y el más increíble y ético equipo de trabajo que una artista puede desear. Hemos escalado el Kilimanjaro y los latinos hemos hecho historia esta noche. No lo hubiéramos logrado sin ustedes!! pic.twitter.com/LDsBffgRCV

— Shakira (@shakira) February 3, 2020

“I think it’s a very important moment for our community, for the Latino community in this country,” Lopez said of the moment ahead of Sunday night at a press conference.

“The Super Bowl is a very American event, as American as it can get. It will also be a reminder of the heritage of this country, which is one of diversity, and that’s what we will be celebrating on Sunday,” added Shakira, who is celebrating her 43rd birthday Sunday.

Just hours before the performance, Lopez emphasized the significance of their performance in an Instagram post that featured them hugging. “So excited to share the stage with you tonight @Shakira! ✨💕✨ Let’s show the world what two little Latin girls can do. #LetsGetLoud #GirlPower #SuperBowlLIV #SBLIV”

View this post on Instagram

So excited to share the stage with you tonight @Shakira! ✨💕✨ Let’s show the world what two little Latin girls can do. #LetsGetLoud #GirlPower #SuperBowlLIV #SBLIV

A post shared by Jennifer Lopez (@jlo) on Feb 2, 2020 at 11:45am PST

BIG CONGRATULATIONS to our Latin Queens, @jlo & @shakira who did a MAGNIFICENT job representing & entertaining for the superbowl54miami halftime show! #latinpride #thatshowitsdone ##killerdancemoves… https://t.co/hNpGJR8MS1

— Gloria Estefan (@GloriaEstefan) February 3, 2020

They followed Maroon 5 in 2019, a show dogged by controversy surrounding the NFL due to the status of Colin Kaepernick. This year, however, Lopez and Shakira were brought on following the announcement of a partnership between the NFL and Jay-Z’s Roc Nation, and were welcomed for the Miami event.

Super Bowl LIV saw the San Francisco 49ers facing off against the Kansas City Chiefs in the NFL’s annual showdown.

[y2kbeautyandother2000sstuff]

American Girl Doll Catalogue "Short Stories and New Outfits"

1999

Found on toysandcollectiblesmuseum.org

[plusorminuscongress]

Radio Girl and Her De Luxe Revue

Radio Girl and Her De Luxe Revue By Neely Tucker Published August 16, 2019 at 02:40PM

Vaughn de Leath, 1939. Jim Walsh Collection, Recorded Sound Reference Center.

Taylor McClaskie is one of the Music Division’s summer 2019 interns. She is a Ph.D. candidate in musicology at Case Western Reserve University. Here, she writes about the early days of radio and one of its near-forgotten stars.

Among the hundreds of songs that have crossed my desk this summer as I help process and catalogue unpublished popular music, I’ve seen lots of great items. Pieces by jazz pianist James P. Johnson, Led Zeppelin’s Jimmy Page, blues singer Hattie Burleson,  A. P. Carter of the Carter Family, Frank Zappa, Jimi Hendrix, and Carole King. It just keeps going.

But perhaps one of the most exciting items was deposited for copyright nearly a century ago by a long forgotten star: Radio Girl.

The singer’s stage name was Vaughn de Leath. The deposit came in the form of a substantial stack of paper held together with a bit of string. Scribbled on the make-shift cover page, a thick piece of blank staff paper smudged with ink, I saw the title “De Luxe Revue.” Deposited with the Library on Nov. 6, 1919, this packet of paper holds the score and stage direction for a revue written by de Leath.

The version of “Ukulele Lady” de Leath made famous. UCLA Music Library’s Archive of Popular American Music

Vaughn de Leath (1894-1943), born Leonore Vonderleith, was a performer, entertainer, and songwriter. She was one of the first women to sing on radio and was appropriately nicknamed “The Original Radio Girl.” Some even suggest that she performed in the laboratory of inventor Lee De Forest, the self-described “Father of Radio.” During the 1920s and 1930s, de Leath serenaded audiences through their radios in New York and New Jersey. Though she had a wide vocal range, de Leath avoided her soprano register during broadcast for fear that the high pitches would shatter the delicate transmitters of early radio. Instead, she relied on the low alto end of her voice and helped develop the style we now know as crooning.

She made “Ukulele Lady” a hit in 1925; her recording was used in the 1999 film “The Cider House Rules,” and everyone from Arlo Guthrie to Bette Midler has recorded it. Throughout her performing career de Leath recorded with labels such as Edison, General Phonograph Corporation, and Okeh. In 1923, she became one of the first women to manage a radio station.

Yet before her career as a radio singer, de Leath worked as a composer and stage performer. According to her obituary, she was responsible for over 500 songs, some published as early as 1912. “De Luxe Revue,” in the 1919 deposit with the Library, includes five handwritten songs, all by de Leath, and presumably in her hand.

Revues hit their stride in America in the first two decades of the 20th century and were made popular by Florenz Ziegfeld’s spectacular “Ziegfeld Follies.” These variety shows were filled with song, dance, and spectacle. Some revues had a central theme, but usually there was no overarching plot. They were humorous variety shows intended for a wide audience. De Leath’s “De Luxe Revue” is a whirlwind tour around the globe, taking the audience to Ireland, Spain, Italy, Egypt and the American South. This is a perfect setting for a revue; not only does each scene allow for character pieces that capitalize on exoticized notions of these far-away places, but each location calls for new scenery, new costumes, and new spectacle.

Stage design for the “Irish Extravaganza” in Vaughn de Leath’s “De Luxe Revue.”

“De Luxe Revue” starts with an “Irish Extravaganza.” We can see de Leath’s stage design and outlines for the musical sequence. In this sketch, a character named Paddy sings “My Sweet Colleen” to an Irish lass on a stage adorned with harps. During the third chorus of the song, giant shamrocks—a woman perched on each one—are rolled on stage. After the shamrock ladies dismount their clovers by walking down the flowers’ stems, the chorus dances an Irish reel. In a moment of true spectacle, the sides of a large harp, placed center stage, open to reveal a couple who dances a “special dance.” For the big finish everyone comes forward and dances the Irish reel and the number concludes with one final chorus of “My Sweet Colleen.”

“Along the Nile” stage directions. 

The stage directions de Leath provided in “Along the Nile” give us insight into the show’s performances in New York and across the country. This show was full of exciting stage action and complex scenery.

Taylor McClaskie.

In addition to women-bearing shamrocks and giant harps, the De Luxe Revue also included men seducing women by dancing the fandango, a girl playing a grand piano in a balcony under a Venetian moon, and an on-stage pool built for none other than Cleopatra herself. Revue performances were flexible; it was not uncommon for singers to switch out songs because another piece suited their voice better or because the audience demanded a more popular tune.

While the copyright deposit for “De Luxe Revue” is certainly not an “urtext,” it certainly is a snapshot photo, allowing us to see how this show may have existed at a particular moment in time a century ago.

Subscribe to the blog— it’s free! — and the largest library in world history will send cool stories straight to your inbox.

Read more on https://loc.gov