10th annual Riverhead Idol to be held in June

05/01/2013 4:00 PM |

JOHN NEELY FILE PHOTO | Sophia Parise (left) accepts her first place award last year from Rose Sanders in the Riverhead Idol contest, which will be held in June this year.

Riverhead Idol will be back this year, a little later than usual, and it will be celebrating its 10th Anniversary, said Riverhead Councilman Jim Wooten, who annually serves as the master of ceremony for the singing contest.

This year’s competition will be held at 2 p.m. June 9 at the Vail-Leavitt Music Hall, Mr. Wooten said.

“We normally have it in March, and we were going to do it in early May, but between the testing they were having at the schools, and the fact that they they had a play going on, we moved it back,” he said. “A lot of the kids in the contest are multi-talented — they are in the choir and in band and in plays and the Blue Masques — so we wanted to make sure they are all done with those things first.”

This year’s Idol will be held in the afternoon for the first time because that’s when the theater was available, Mr. Wooten said.

Auditions will be held May 15 at Riverhead High School and at the middle school the next day. May 17 may also be used for auditions, he said.

From there, the field will be narrowed down to about a dozen singers for the June 9 show.

“Last year, we had about 40 people audition,” Mr. Wooten said.

The fact that the town doesn’t have a Youth Bureau director this year also may have contributed to the show’s later date, Mr. Wooten said.

“I think there was some confusion as to who would be running this,” he said.

Longtime Youth Bureau director Donna Lyczkowski retired last August and her position was not filled. The recreation department took over those duties.

Mr. Wooten said recreation department superintendent Ray Coyne took the job along with volunteers who served on the Riverhead Youth Advisory Committee and set up the June 9 date. The youth bureau and the advisory committee had produced the event in years past, Mr. Wooten said.

tgannon@timesreview.com

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  • Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, “Signs are only meaningful on the basis of their relations to all other signs” (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society’s expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person’s gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

  • Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries’ famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

  • A woman wearing men’s clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society’s belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

  • High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to ‘strut’ to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women’s appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

  • Gaultier’s design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women’s restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

  • In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men’s fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud’s assertion that “visual impressions remain the most frequent pathway along which libidinal excitation is aroused” (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women’s clothing section is distinct from the men’s. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

  • The ‘gaze’ plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The ‘gaze’ (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of ‘looking’ and being ‘looked at’ does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

  • Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman’s Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society’s fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia’s November 2004 issue of Cosmopolitan an article was run entitled ‘Anorexia for Sale’. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as ‘pro ana’ sites, that is, websites supporting anorexia as a ‘lifestyle choice’ as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell ‘ana bracelets’ and ‘ana necklaces’ which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan ‘Save Mary Kate’ and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words ‘Save Mary Kate’ could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be ‘Save Mary Kate from the rehabilitation clinic’. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

  • There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

  • Madonna has been a ‘sex symbol’ for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden’s in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) ‘Master’ (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier’s corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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  • Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

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  • If there are actually youngsters concerned they shold take them and put them in foster treatment till the mother and father can give for them on their own, if not put them up for adoption. Allow the in a position bodied grownups give for on their own. When they can’t let them starve.

  • Poor kids around the world will kick just about anything resembling a ball to get a soccer game going. Rolled up socks or rags, cans, tennis balls. For those kids with a little more money, say $160, and the highly paid professionals who will contest the World Cup in Brazil this summer, there’s the brazuca. That’s the name picked by a poll of fans in Brazil for the official soccer ball of the World Cup. According to Adidas, the manufacturer, brazuca is a local expression that’s used to describe the Brazilian way of life.

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  • さて”いい間違い”のエントリーで登場したゴージャスなアメリカ人の元同僚Rの話をしよう。ある日出勤すると彼女の機嫌が悪かった。“どうしたのか”と尋ねると、彼女のクライアントである日本人ビジネスマンの1人がカリフォルニアのベイエリアに出張したらしい。その彼は彼女宛にポストカードを送ってきたというのだが問題はそのポストカードに写っていた写真だった。真上にはSILICONVALLEY(シリコンバレー)と大きくかかれてありビキニ姿の金髪の女性が横たわっている写真だった。(それのどこが問題なのかって?)よく見るとモデルの細い体のラインにはアンバランスなほど胸の部分が 大きい。かつ不自然なまでに上向きだった。どこからどう見ても”シリコン”入りの胸であったのだ元同僚Rはこれはある種の“セクハラ”だとご立腹。勿論そのポストカードはカリフォルニアのシリコンバレーで入手されたものであるからアメリカ人観光客を対象としたジョークネタとして売られていたもの。だからこれを送ってきた日本人ビジネスマンもカリフォルニア出身の彼女だけに“笑ってくれる”と勘違いしたのであろう。しかし彼女は”こういうジョークがまかり通る世の中だから女性への差別がなくならないんだ。”と私の前でそのポストカードを破り捨てたのだった。彼女が怒るのも無理はない。日本では電車や地下鉄に乗っていると背が高い彼女の場合平均日本人男性の目線は自然と彼女の胸元にいく。だから毎日通勤中も男性の興味半分いやらしさ半分の視線に晒されて彼女自身うんざりきていたのだろう。そのせいか彼女のワードローブはジャケットや覆い隠すものが増えたように思えたもうすぐ薄着の夏がやってくる。男性の皆さんあなたの視線女性はちゃんと感じていますよ。そしてギャルファッション好きな女子の皆さん海外にでるときはくれぐれもそのショートパンツや超ミニスカートはたんすの引き出しのなかに置いていったほうがいいと思いますよ。なにも自ら“セクハラの対象”になることはないと思うんですが。。。オバサンの私は目のやり場や手の置き場を探さなければならないある意味自己防衛を強いられる日本人男性にちょっとだけ同情してしまいます。日本人男性は若い女性の太腿の露出に慣らされているからOKかもしれませんが海外では”そういう類の女だと”誤解をあたえることをおぼえておいてください。以上オバサンからの忠告でした。セクハラや痴漢行為レイプと自分の性欲がコントロールできない男性加害者を許すことはできませんがいわゆる”可愛らしさセクシーさ個性”を求めて選んだファッションを見てみると.警察の調書や新聞の紙面には出てこない男性の”理性の箍が外れた”原因はソコにもあるのではないかと思ってしまうんですよね。セクシーさとイカガワシサのラインを決めるのはやはり着こなす女性の品位とかクラス表れだと思うんです。そのガイドラインというべき物は日本の社会のセンスとかモラルとかが決めるのかもしれませんね2012/06/12 14:45

  • この動きは、神奈川県など行政や、海外にも飛び火している。企業のPRとエンタメ性が両立する、まさに新時代のコンテンツなのだ。日本経済とファッション消費への価値観の変化

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  • 「トレンドファッションをチェックするには、やっぱりコレクションやファッションショーに行かないとダメ?」もうその考え方は古いかもしれませんよ。実は今あなたが使っているiPhoneで、流行の発信地として知られている世界の都市、ミラノ、ロンドン、ニューヨーク、パリで開催された最新のファッションショーをチェックできるんですオシャレに敏感な若い世代を中心に、美意識の高い女性たちがダウンロードしている注目のアプリ『Catalk』で、あなたも今すぐモテファッションをチェックしてみて!今年のトレンドカラーやデザインを1つ取り入れるだけで、ぐっとオシャレ度がアップしますよ4つの都市で開催されたファッションショーには、10人の有名デザイナーによる最先端のコレクションが登場。気になる彼とのデートはもちろん、結婚式やパーティーなど、特別な日のコーディネートに絶対使えるオシャレアイテムがたくさん収録されています。各都市で少しずつトレンドが違うので、じっくり見比べてみてくださいね。あなた好みのデザインが見つかること間違いなしです見ているだけでオシャレ気分を味わえるこのアプリは、ファッショニスタからも「いつでも、どこでも、手軽に最新ファッションを楽しめる」と高評価を得ています。コレクションを見ていて気になったアイテムは、アップにすれば細部までしっかりチェックできます。あなたも空き時間を使って、こっそり女子力アップしてみてはいかがですか?

  • カリスマ極上セレブが実践する内外ともに本物のいい女になるための秘密。☆フェリスGirlのモテ系イケメン(SMAP、木村拓哉、嵐) 月の恋人moon lovers

  • The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.

  • But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:

  • 11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.

  • 11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.

  • Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.

  • 8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.

  • 5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.

  • 11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.

  • So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.

  • フォトギャラリー:Fly Me To Minami 恋するミナミ

  • Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.

  • 5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.

  • 6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.

  • :9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!

  • 9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.

  • :38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.

  • 2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.

  • 3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.

  • 0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.

  • How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

  • (Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)

  • 月になったら年生は就活で、年生は卒業を目前にそわそわし始め、学生の集まりが悪くなるのは目に見えてるので、とにかく年内に回、何か面白そうな展覧会を!と先週急きょ探したら、明大前からすぐの東京オペラシティアートギャラリーで、面白そうなファッション展がやってるではありませんかということで、卒論が大詰めの年生には申し訳ないけど、年生をゼミの時間使って連れて行きました実はちょうど、この展示の内容とリンクするファッションの論文を先週と先々週の年ゼミで講読してたので、ツイてました僕自身は別にファッション論の専門家でも、自分自身がファッショナブルな人間でもないんですが、毎年ファッション関連の卒論を書く学生がいるのもあり、興味はずっとあるんですよね。きれいな服も奇抜な服もかっこいい服も、普通に見るのは楽しいしこの展示で紹介されてたデザイナーさんたちの仕事は、ハイファッションの文脈とストリートファッション、さらにはサブカルチャーやオタクカルチャーの文脈を交差させるような性格のものが多く、ただただかっこいい、美しい、というより、面白い、という要素があって、現代美術的なインスタレーションも普通に可愛かったり楽しかったりしたので、学生たちも色々刺激されるところがあったのではないでしょうか。僕も、ケイスケカンダとかリトゥンアフターワーズには強く興味をひかれました。東京ファッションの現在形』を観賞

  • 太りやすい体質なので、毎日摂取カロリーを計算しています。

  • Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are ‘normal’. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

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  • ちなみにその時、「名前の部分はどうします?」と聞かれたんですね。よく見ると、足首を締めるマジックテープのところに「UTAMARU」と入っているんですよ↓

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