I see trees of green........ red roses too I see 'em bloom..... for me and you And I think to myself.... what a wonderful world.
I see skies of blue..... and clouds of white The bright blessed days....dark sacred nights And I think to myself .....what a wonderful world.
The colors of the rainbow.....so pretty ..in the sky Are also on the faces.....of people ..going by I see friends shaking hands.....sayin'.. how do you do They're really sayin'......I love you.
I hear babies cry...... I watch them grow They'll learn much more.....than I'll never know And I think to myself .....what a wonderful world
(instrumental break)
The colors of a rainbow.....so pretty ..in the sky Are there on the faces.....of people ..going by I see friends shaking hands.....sayin'.. how do you do They're really sayin'...*SPOKEN*(I ....LOVE....YOU).
I hear babies cry...... I watch them grow *SPOKEN*(You know their gonna learn a whole lot more than I'll never know) And I think to myself .....what a wonderful world Yes I think to myself .......what a wonderful world.
Reported by [DJNap] 217.57.135.124:8888 Sunday, October 28, 2001 08:33:22
User Name: westside Access Level: User Time Online: 51:14:50 In Channels: Status: Active Shared Files: 1638 Active Downloads: 0 Active Uploads: 0 Connection Type: DSL Client Version: WinMX v2.6j
° ° ° degree sign ± ± ± plus or minus ² ² 2 superscript two ³ ³ 3 superscript three ´ ´ ´ acute accent µ µ μ micro sign ¶ ¶ ¶ paragraph sign · · ・ middle dot ¸ ¸ , cedilla ¹ ¹ 1 superscript one º º o masculine ordinal » » ≫ right angle quote ¼ ¼ ? one-fourth ½ ½ ? one-half ¾ ¾ ? three-fourths ¿ ¿ ? inverted question mark À À A uppercase A, grave accent Á Á A uppercase A, acute accent   A uppercase A, circumflex accent
à à A uppercase A, tilde Ä Ä A uppercase A, umlaut Å Å A uppercase A, ring Æ Æ A uppercase AE Ç Ç C uppercase C, cedilla È È E uppercase E, grave accent É É E uppercase E, acute accent Ê Ê E uppercase E, circumflex accent Ë Ë E uppercase E, umlaut Ì Ì I uppercase I, grave accent Í Í I uppercase I, acute accent Î Î I uppercase I, circumflex accent Ï Ï I uppercase I, umlaut Ð Ð D uppercase Eth, Icelandic Ñ Ñ N uppercase N, tilde Ò Ò O uppercase O, grave accent Ó Ó O uppercase O, acute accent Ô Ô O uppercase O, circumflex accent Õ Õ O uppercase O, tilde
Ö Ö O uppercase O, umlaut × × × multiplication sign Ø Ø O uppercase O, slash Ù Ù U uppercase U, grave accent Ú Ú U uppercase U, acute accent Û Û U uppercase U, circumflex accent Ü Ü U uppercase U, umlaut Ý Ý Y uppercase Y, acute accent Þ Þ T uppercase THORN, Icelandic ß ß s lowercase sharps, German à à a lowercase a, grave accent á á a lowercase a, acute accent â â a lowercase a, circumflex accent ã ã a lowercase a, tilde ä ä a lowercase a, umlaut å å a lowercase a, ring æ æ a lowercase ae ç ç c lowercase c, cedilla è è e lowercase e, grave accent
é é e lowercase e, acute accent ê ê e lowercase e, circumflex accent ë ë e lowercase e, umlaut ì ì i lowercase i, grave accent í í i lowercase i, acute accent î î i lowercase i, circumflex accent ï ï i lowercase i, umlaut ð ð d lowercase eth, Icelandic ñ ñ n lowercase n, tilde ò ò o lowercase o, grave accent ó ó o lowercase o, acute accent ô ô o lowercase o, circumflex accent õ õ o lowercase o, tilde ö ö o lowercase o, umlaut ÷ ÷ ÷ division sign ø ø o lowercase o, slash ù ù u lowercase u, grave accent ú ú u lowercase u, acute accent û û u lowercase u, circumflex accent
· ・ middle dot ¸ , cedilla ¹ 1 superscript one º o ordinal indicator, masculine » ≫ angle quotation mark, right ¼ ? fraction one-quarter ½ ? fraction one-half ¾ ? fraction three-quarters ¿ ? inverted question mark À A capital A, grave accent Á A capital A, acute accent  A capital A, circumflex accent à A capital A, tilde Ä A capital A, dieresis or umlaut mark Å A capital A, ring Æ A capital AE diphthong (ligature) Ç C capital C, cedilla È E capital E, grave accent É E capital E, acute accent Ê E capital E, circumflex accent Ë E capital E, dieresis or umlaut mark Ì I capital I, grave accent Í I capital I, acute accent Î I capital I, circumflex accent Ï I capital I, dieresis or umlaut mark Ð D capital Eth, Icelandic Ñ N capital N, tilde Ò O capital O, grave accent Ó O capital O, acute accent Ô O capital O, circumflex accent Õ O capital O, tilde
Ö O capital O, dieresis or umlaut mark × × multiply sign Ø O capital O, slash Ù U capital U, grave accent Ú U capital U, acute accent Û U capital U, circumflex accent Ü U capital U, dieresis or umlaut mark Ý Y capital Y, acute accent Þ T capital THORN, Icelandic ß s small sharp s, German (sz ligature) à a small a, grave accent á a small a, acute accent â a small a, circumflex accent ã a small a, tilde ä a small a, dieresis or umlaut mark å a small a, ring æ a small ae diphthong (ligature) ç c small c, cedilla è e small e, grave accent é e small e, acute accent ê e small e, circumflex accent ë e small e, dieresis or umlaut mark ì i small i, grave accent í i small i, acute accent î i small i, circumflex accent ï i small i, dieresis or umlaut mark ð d small eth, Icelandic ñ n small n, tilde ò o small o, grave accent ó o small o, acute accent ô o small o, circumflex accent õ o small o, tilde ö o small o, dieresis or umlaut mark ÷ ÷ divide sign ø o small o, slash ù u small u, grave accent ú u small u, acute accent û u small u, circumflex accent ü u small u, dieresis or umlaut mark ý y small y, acute accent þ t small thorn, Icelandic ÿ y small y, dieresis or umlaut mark
Here's the reality; the HTML 4.0 specification contains a ton of different character entity specifications, including some fun ones like ♥ for a small heart symbol, but they're not supported in the current version of the different web browsers. Will they be supported in the future? I don't know, but I will say that if you view the following material and you see Greek characters, mathematical symbols, etc, you're doing great! If not, your browser doesn't yet support these particular symbols. Named entities for symbols, mathematical symbols, and Greek letters
The named character entities in this section produce characters that may be represented by glyphs in the widely available Adobe Symbol font, including Greek characters, various bracketing symbols, and a selection of mathematical operators such as gradient, product, and summation symbols.
To support these entities, user agents may support full ISO 10646 or use other means. Display of glyphs for these characters may be obtained by being able to display the relevant characters or by other means, such as internally mapping the listed entities, numeric character references, and characters to the appropriate position in some font that contains the requisite glyphs.
When to use Greek entities: This entity set contains all the letters used in modern Greek. However, it does not include Greek punctuation, precomposed accented characters nor the non-spacing accents (tonos, dialytika) required to compose them. There are no archaic letters, Coptic-unique letters, or precomposed letters for Polytonic Greek. The entities defined here are not intended for the representation of modern Greek text and would not be an efficient representation; rather, they are intended for occasional Greek letters used in technical and mathematical works.
796 名前:名無しさん 投稿日:01/11/20 22:24 no-break space ! ! inverted exclamation mark ¢ ¢ cent sign £ £ pound sterling sign ? ? general currency sign \ \ yen sign | | broken (vertical) bar § § section sign ¨ ¨ umlaut (dieresis) c c copyright sign a a ordinal indicator, feminine ≪ ≪ angle quotation mark, left ¬ ¬ not sign - - soft hyphen R R registered sign  ̄  ̄ macron ° ° degree sign ± ± plus-or-minus sign 2 2 superscript two 3 3 superscript three ´ ´ acute accent μ μ micro sign ¶ ¶ pilcrow (paragraph sign)
797 名前:名無しさん 投稿日:01/11/20 22:25 ・ ・ middle dot , , cedilla 1 1 superscript one o o ordinal indicator, masculine ≫ ≫ angle quotation mark, right ? ? fraction one-quarter ? ? fraction one-half ? ? fraction three-quarters ? ? inverted question mark A A capital A, grave accent A A capital A, acute accent A A capital A, circumflex accent A A capital A, tilde A A capital A, dieresis or umlaut mark A A capital A, ring A A capital AE diphthong (ligature) C C capital C, cedilla E E capital E, grave accent E E capital E, acute accent E E capital E, circumflex accent E E capital E, dieresis or umlaut mark I I capital I, grave accent I I capital I, acute accent I I capital I, circumflex accent I I capital I, dieresis or umlaut mark D D capital Eth, Icelandic N N capital N, tilde O O capital O, grave accent O O capital O, acute accent O O capital O, circumflex accent O O capital O, tilde
・ ・ middle dot , , cedilla 1 1 superscript one o o ordinal indicator, masculine ≫ ≫ angle quotation mark, right ? ? fraction one-quarter ? ? fraction one-half ? ? fraction three-quarters ? ? inverted question mark A A capital A, grave accent A A capital A, acute accent A A capital A, circumflex accent A A capital A, tilde A A capital A, dieresis or umlaut mark A A capital A, ring A A capital AE diphthong (ligature) C C capital C, cedilla E E capital E, grave accent E E capital E, acute accent E E capital E, circumflex accent E E capital E, dieresis or umlaut mark I I capital I, grave accent I I capital I, acute accent I I capital I, circumflex accent I I capital I, dieresis or umlaut mark D D capital Eth, Icelandic N N capital N, tilde O O capital O, grave accent O O capital O, acute accent O O capital O, circumflex accent O O capital O, tilde
803 名前:名無しさん 投稿日:01/11/20 23:46 - unused horizontal tab line feed unused space ! ! exclamation mark " " " double quotation mark # # number sign $ $ dollar sign % % percent sign & & & ampersand ' ' apostrophe ( ( left parenthesis ) ) right parenthesis * * asterisk + + plus sign , , comma - - hyphen . . period
English Heritage is the Government's lead body for the historic environment in England. We are responsible for protecting the best of this country's unique legacy of historic buildings, landscapes and archaeological sites for the benefit of this and future generations. It is also our job to make sure that the country's heritage contributes directly to the social and economic health of the communities of today. The past belongs to everybody - English Heritage exists to ensure that people, wherever they live and whatever their background, enjoy, understand and appreciate England's rich and diverse history.
In 1999 we merged with the Royal Commission on the Historical Monuments of England - the national body of architectural and archaeological survey and record.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
Kampsport: Daniel Bernhardt Foto: Daniel Bernhardt jemmeside
Monica Belluci fra den franske filmen ≪Leiligheten≫ Foto: SCANPIX
Perrineau: I badekaret med Penelope Cruz Foto: FOX
Si din mening om saken! Antall innlegg: 2 RELATERTE SAKER Jada Pinkett En klar sak for Kommisjonen [ 30. apr]
The Matrix Reloaded RELATERTE LINKER Matrix ryktebors
Matrix offisiell
Utskriftsvennlig versjon Tips en venn om saken!
En sexy italiensk diva, kona til Will Smith, og en dragdronning. Det er hva Keanu Reeves far a spille mot i ≪Matrix 2≫. Av MAY SYNNOVE ROGNE Mandag 12. mars 2001 11:01
Etter maneder med lose rykter begynner skuespillerlista til ≪Matrix 2≫ a bli litt mer offisiell. Det er na klart at bade rapdronningen Aaliya og den italienske divaen Monica Belluci er pa rollelista til ≪Matrix 2≫. Jada Pinkett Smith har lenge vart klar i rollen som Niobi. To nye navn er ogsa klaret fra hoyeste hold.
Harold Perrineau er et av navnene som er klar for en av tidenes oppfolger. Perrineau sa vi sist som dragdronning i ≪Woman on Top≫ mot Penelope Cruz og mot Leonardo DiCaprio i ≪Romeo & Juliet≫. Et annet navn er Daniel Bernhardt mest kjent for sin rolle i tv-serien ≪Mortal Kombat≫ og sine kampsport-ferdigheter.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts. The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
Thees, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
O O O uppercase O, umlaut × × × multiplication sign O O O uppercase O, slash U U U uppercase U, grave accent U U U uppercase U, acute accent U U U uppercase U, circumflex accent U U U uppercase U, umlaut Y Y Y uppercase Y, acute accent T T T uppercase THORN, Icelandic s s s lowercase sharps, German a a a lowercase a, grave accent a a a lowercase a, acute accent a a a lowercase a, circumflex accent a a a lowercase a, tilde a a a lowercase a, umlaut a a a lowercase a, ring a a a lowercase ae c c c lowercase c, cedilla e e e lowercase e, grave accent
794 名前:名無しさん 投稿日:01/11/20 22:17 e e e lowercase e, acute accent e e e lowercase e, circumflex accent e e e lowercase e, umlaut i i i lowercase i, grave accent i i i lowercase i, acute accent i i i lowercase i, circumflex accent i i i lowercase i, umlaut d d d lowercase eth, Icelandic n n n lowercase n, tilde o o o lowercase o, grave accent o o o lowercase o, acute accent o o o lowercase o, circumflex accent o o o lowercase o, tilde o o o lowercase o, umlaut ÷ ÷ ÷ division sign o o o lowercase o, slash u u u lowercase u, grave accent u u u lowercase u, acute accent u u u lowercase u, circumflex accent
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts. The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts. The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts. The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick ater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts. The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.
The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts. The First Major history of cross-dressing in theatre Whether it's Ziggie Stardust strutting the stage in a white satin gown or a troupe of Kabuki actors masquerading as women to a mesmerized male audience, the evocative transvestite performer offers a subliminal homoerotic fantasy and provides the lasting image of the show long after its closing night. Award-winning theater historian and critic Laurence Senelick synthesizes a vast array of material from archival research and a lifetime of theater-going to provide a monumental record of cross-dressing on the stage. Pantomimists, dame comedians, principal boys, glamour drag artistes, androgyne rock stars, and male impersonators are traced from their roots in tribal ritual and Christian pageantry to today's forms -- the dandyism of Little Richard, the queer sensibility of Sylvester and the Coquettes, the thrift-shop drag of Boy George -- capturing the allure and excitement of gender-bending performance: its rebellion, it's public spectacle, its amusements, its tragedies, its escapism. Senelick brilliantly elucidates the dynamic between the theater as both mainstream forum and anti-establishment haven for misfits, ravers, radical activists, and outcasts.