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2006 Honorable Mention for MLA Prize in US Latina and Latino and Chicana and Chicano Literary and Cultural Studies In the summer of 1995, El Vez, the “Mexican Elvis,“along with his backup singers and band, The Lovely Elvettes and the Memphis Mariachis, served as master of ceremony for a ground-breaking show, “Diva L.A.: A Salute to L.A.’s Latinas in the Tanda Style.” The performances were remarkable not only for the talent displayed, but for their blend of linguistic, musical, and cultural traditions. In Loca Motion , Michelle Habell-Pallán argues that performances like Diva L.A. play a vital role in shaping and understanding contemporary transnational social dynamics. Chicano/a and Latino/a popular culture, including spoken word, performance art, comedy, theater, and punk music aesthetics, is central to developing cultural forms and identities that reach across and beyond the Americas, from Mexico City to Vancouver to Berlin. Drawing on the lives and work of a diverse group of artists,Habell-Pallán explores new perspectives that defy both traditional forms of Latino cultural nationalism and the expectations of U.S. culture. The result is a sophisticated rethinking of identity politics and an invaluable lens from which to view the complex dynamics of race, class, gender, and sexuality.

The new celebration of women's aggression in contemporary culture, from Kill Bill and Prime Suspect to the artists group Toxic Titties.In the past, more often than not, aggressive women have been rebuked, told to keep a lid on, turn the other cheek, get over it.Repression more than aggression was seen as woman's domain.

This essay argues that Jean Carroll, America’s first Jewish female stand-up comedian, constitutes a key figure in the history of Jewish performance because she embodied a new model of Jewish femininity in comedy, transforming the emerging genre of “stand-up comedy” from one that reinscribed and circulated negative stereotypes of Jewish women to one that revised and humanized these stereotypes. As pioneers of modern stand-up comedy like Henny Youngman marked the genre with misogynistic accounts of Jewish women as backward and unsympathetically demanding, Carroll provided an alternate representation that captured a more assimilated, sophisticated, and sympathetic Jewess. Her performances on mainstream stages were coded, drawing on stereotypes of Jewish women circulated by her Jewish male colleagues, but humanizing them using a new style of “confidant comedy” that leveraged the intimacy of her informal, conversational delivery.

\"Token Black Girl unpacks the adverse effects of insidious white supremacy in the media--both unconscious and strategic--to tell a personal story about recovery from damaging concepts of perfection, celebrating identity, and demolishing social conditioning\"--Book jacket flap.

Sarah Palin’s 2008 vice presidential candidacy garnered tremendous levels of interest, polarizing the American public—both Democrats and Republicans alike. While many have wondered who she \"really\" is, trying to cut through the persona she projects and the one projected by the media, Beail and Longworth analyze why she touches such a nerve with the American electorate. Why does she ignite such passionate loyalty – and such loathing? How did her candidacy mobilize new parts of the electorate? Using the notion of \"framing\" as a way of understanding political perception, the authors analyze the narratives told by and about Sarah Palin in the 2008 election – from beauty queen, maverick, faithful fundamentalist and post-feminist role model to pit bull hockey mom, frontier woman, and political outsider. They discuss where those frames are rooted historically in popular and political culture, why they were selected, and the ways that the frames resonated with the electorate. Framing Sarah Palin addresses the question of what the choice and perception of these frames tells us about the state of American politics, and about the status of American women in politics in particular. What do the debates engendered by these images of Palin say about the current roles and power available to women in American society? What are the implications of her experience for future candidates, particularly women candidates, in American politics? \"Beail and Longworth have written the type of book that many of us who study women as political communicators have been waiting to see on the market. These insightful critics offer a window on Sarah Palin as a phenomenon on the US political scene. This analysis addresses rhetorical appeals to gender, race, and class that unite, divide, and polarize the US populace.\" —Patricia A. Sullivan, State University of New York, New Paltz \"Hockey Mom, Beauty Queen, Political Outsider, Frontier Woman, Post-Feminist Icon.　Whether or not Sarah Palin holds political office ever again, there is no question that she changed the way that people think about women in presidential politics.　 Framing Sarah Palin helps us to understand the multifaceted nature of her surprisingly strong popular appeal, revealing the complex and dynamic relationship between pop culture and electoral politics.\" —Susan Burgess, Ohio University \"A wonderful, extensive account of public commentary about Sarah Palin specifically, and women and politics broadly. Beail and Longworth miss nothing and offer readers a detailed account of how gender, ideology and electoral politics intersect in American culture. Their observations remind us that women candidates encounter distinct challenges from men, but also that partisan differences among women cannot be overlooked. Students and scholars of political science, communications and women's studies will be especially interested in this fine and thorough book.\" —Ronnee Schreiber, San Diego State University \" Framing Sarah Palin is a book that provides insights into the intersection of gender and partisan American politics that scholars from many disciplines can further explore. It does identify for women interested in running for office the importance of narratives and their potential pitfalls.\" - Diana B. Carlin, e-International Relations, April 2013 Linda Beail is a Professor of Political Science at Point Loma Nazarene University, where she serves as Director of the Margaret Stevenson Center for Women’s Studies. Rhonda Kinney Longworth is a Professor of Political Science, Associate Provost and Associate Vice President for Academic Programming and Support at Eastern Michigan University. 1: Introduction. Part I: Republican Frames. 2: Frontier Woman. 3: Political Outsider. Part II: Gender Frames. 4: Hockey Mom. 5: Beauty Queen. 6: Post-Feminist Role Model. 7: Conclusion

More so than any war in history, World War II was a woman's war. Women, motivated by patriotism, the opportunity for new experiences, and the desire to serve, participated widely in the global conflict. Within the Allied countries, women of all ages proved to be invaluable in the fight for victory. Rosie the Riveter became the most enduring image of women's involvement in World War II. What Rosie represented, however, is only a small portion of a complex story. As wartime production workers, enlistees in auxiliary military units, members of voluntary organizations or resistance groups, wives and mothers on the home front, journalists, and USO performers, American women found ways to challenge traditional gender roles and stereotypes.Beyond Rosieoffers readers an opportunity to see the numerous contributions they made to the fight against the Axis powers and how American women's roles changed during the war. The primary documents (newspapers, propaganda posters, cartoons, excerpts from oral histories and memoirs, speeches, photographs, and editorials) collected here represent cultural, political, economic, and social perspectives on the diverse roles women played during World War II.