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Best movie ever The song is Rob Thomas - Little Wonders. Epic scene. Which is the ending of the whole movie. Everything just falls in place. See more ideas about Scene setters, Sunday school and Vacation bible school. Sharalyn Robinson .. Little barn made with cardboard box, colored papers, cotton Check out this great set for Professor Playtime's Christmas Shop of Wonders created by the children's .. The Story Launch Event-Meet the Characters!. 16, Joy meets a wonderful guy in the waiting room of her therapist, then steals his file to learn Starring Rowan Atkinson, Tony Robinson, Hugh Laurie, Stephen Fry . 36, Fiona Bruce and the experts return to the exciting backdrop of the judge and prosecutor Marilyn Milian as she decides actual small-claims court cases.

The sugar, most likely the product of the Caribbean colonial project used to sweeten this exchange and the other goods crafted from the land, suggest that although she attempts to live in harmony and economic reciprocity with First Nations, her vision is essentially one of soft colonialization.

Rather than relying on physical force to subdue First Nations and their land, Susan Allison, via trade, assumes First Nations are adequately compensated for "granting" land for invader-settlers to develop into an Eden-like British garden and farm system. The script, naturally, does not speak to how she and her husband acquired their farmland via pre-emption or interrogate the exalted narrative of agricultural progress that assumes settler-invaders improve the lot of First Nations by bring them the benefits of European modernity.

This triumph for her family is a triumph for white heterosexual settlement that is coded as an inevitable and pastoral white fertility. None of the native characters have offspring in this opera: Marie is literally the handmaiden to white fertility that will populate the Okanagan and erase Metis and First Nations leaving settler-invaders as the "new" natives to improve the land.

By the end of the play, John Allison is unconvinced of this "native" superstition but agrees to stay home with his wife to witness the birth. The opera concludes with all four voices simultaneously singing "Naaitka," with the stage direction in the score indicating that John Allison sings it "scornfully" In this text, gender and race are linked in a manner that makes race subservient to a liberal feminist and Canadian nationalist project. Thus Susan and John Allison function as the epitome of white civility, standing in place for the Canadian imaginary, and the racialized characters of Marie, McDougal, Cherumshoot, and even Naaitka are consigned to subsidiary roles.

This view of First Nations as background is confirmed by a Canadian Music Journal article, where Pentland indicates how her violin sonata is informed by "folk" music that includes First Nation music: In retrospect the flavor of these occasions is made up of monotonous but exciting shouting and the pounding of many feet circling the camp-fire in the dark. These early impressions were probably aroused by the more primitive and universal elements contain in the tunes, and create a sort of fusion of our Canadian background.

Domesticating the Native for Invader-Settler Use: Ashnola Displacing Ashnola John 27 The Okanagan in the s might seem like an odd place for women to cross dress and sing as First Nations on the stage of a high school auditorium, but given the tradition of blackface in the region and newspaper accounts from the period it would seem white audiences found this crossing of race and gender within a theatrical tradition acceptable.

An account from the Vernon News in suggests blackface is a source of anxiety when taken out of its theatrical context: Blake Crothers, a member of "the AOTS 26 minstrel show," dressed in blackface has car trouble on a rural road. Unable to flag a motorist down, he knocks on a farmhouse door and inadvertently frightens a woman.

This woman frantically calls for assistance, demonstrating that although the blackened white body is designed to entertain comically, it signifies menace for white audiences "This Minstrel" 2. A caption for a promotional photograph in the Penticton Herald neatly captures this conflation as it describes a First Nation ritual as "a dance of the furies" "One" 8.

Thus the performance of the native can only occur within an ethnocentric framework that suggests this "new" primitive culture is analogous to European classical culture that has also had its rituals transformed into entertainment.

As a new rendition of classical culture within an anthropological mode, the authors ambivalently claim the opera to be a clear sign of Canadian cultural maturity; yet, it is a "fantasy opera" "Authors" 5; "All-Local" 6. For these women, creating and playing red face quite literally results in liberation from the domestic space.

Their village is a cluster of log cabins nestled in the trees on the other side of the Similkameen River from the highway and cannot be seen unless one crosses the river.

Back in the early days of this country and for a long time before, Ashnola John was their chief. He and his Braves had once ambushed a Brigade of white men at Brushy Bottom just across the river from their village.

They massacred and scalped everyone in the party.

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The scalps were taken back to the village and the Chief placed them around the inside of his door. I have known people who say they saw them there. There they remained until a Provincial Policeman stationed at Keremeos heard the story. It is said he went to the village and confiscated them.

No one knows what he did with them. Ashnola eschews this potentially unsettling narrative of a fraught settlement to offer the idyllic pastoral Okanagan in a pre-contact period that is reflected in how the paratextual introduction shifts from this violent narrative of Chief Ashnola John to a description of how the opera perfectly mirrors the geography of the region.

The introduction concludes with the disclaimer, "[t]he story itself is entirely a figment of the imagination" that ensures this mimicry is only representing, with red paint, fanciful First Nations and not the ones that inhabit the cluster of cabins cut off from exalted European modernity in Madame butterfly in Red Face 31 The libretto begins in rhyming lines with "Ashnola: The second line the dancing squaws sing confirms a traditional view of women as domestic labourers: After a competition, the Chief agrees to marry his daughter to this outsider who is described as royalty.

Predictably complications ensue in act two, when the jealous local "brave," [sic] Rushing Wind, seeks magic from the Shaman to poison Shining Arrow.

In act three, the Shaman attempts to discredit and poison Shining Arrow, but he is upstaged by a wise old woman, Old-Seeing Owl, who reads her version of a dream while Meadow Lark poisons the Shaman. The murder of the Shaman as the repository of native cultural belief is swept away by the climax that focuses on happy marriages for the young couples.

A note on the original playbill offers this "ethnographic" detail: A Mesachie Box is a small box generally made of cedar, used by the Medicine Man in his practice of Shamanism, the malevolent rites in casting magic spells.

The natives believed if the Medicine Man had something belonging to them and more especially something from their person, such as a hair or a drop of blood in his Mesachie Box, death was inevitable and they would simply sicken and die. Shamanism is reduced to malevolent fakery rather than a spiritual belief that might also involve healing, an alternative world view, etc. In this case, red face uses ethnographic distance to appropriate, authenticate, and insist on the primitive values of the Other.

Thus this opera speaks more to post-World War II gender issues for white women 29 than to the specifics of First Nations cultures via an anthropological lens. A Legend, 4and the composer Constance Waterman.

Costley and Estabrooks are proud of creating a libretto based on "original" material that suits the vocal range of their all-female chorus and speaks to local interest rather than simply relying on European scripts written for male voices. Inspiration is plentiful in Canada they point out. It lies in the folklore of the country and in its colourful history waiting for writers and composers to take up their pens and write" Nicholson 8. Descriptions of pre-European contact native culture are the raw material that these women use to create a nationalist culture for consumption by opera fans seeking to see "Canadian" content on the stage.

Or is the reception of this opera by these children something more profoundly brutal because it was not acted by people on a screen but by prominent local white settlers in drag? I also sense that it is not my role to re-traumatize someone with a hopefully faded childhood memory, but it is my role to unpack how white privilege operated in the s and lingers in the Okanagan and elsewhere in Canada where notions of being Canadian exploits quaint notions of aboriginality as symbolic capital.

Ashnola consciously rejects the portrayal of resistant "savage" natives to defuse menace in Gilbert and Sullivan style.

Perhaps the unspoken monster in these two s operas is resistance to the colonial project of assimilation. Instead of showing this "monster," these operas attempt to integrate representations of "historic" First Nations into a national agenda to generate a progressive liberal feminist project that maintains white privilege.

British Columbian interior playwrights, George Ryga, a resident of Summerland in the south Okanagan, and Gwen Pharis Ringwood, a resident near Williams Lake area north of the Okanagan, explicitly wrestle with the legacy of colonialism as filtered via the state, church, and school system in a way that problematizes the National project.

Her heroines are self-destructive femmes fatales caught in a colonial patriarchal trap by lecherous white men. The first of these plays Lament for a Harmonica offers a degree of social realism mixed with expressive elements.

Maya is acutely aware of assimilation as she explains to her white ex-lover Allan that their child had few options: Would I have kept him on the reserve? Or would I give him to some barren pair to raise as their own?

The inability to self-define indicates how the dominant invader-settler society has inscribed her role as a First Nations woman.

Lane, in his "Performing History: A Special Place" boldly claims, "[i]f Canada can be described as a land with too much geography and not enough history, then British Columbia has more geography and less history than anywhere else" Lane sees the removal of the ban on potlatch 36 as a defining epoch for a later period associated with socially committed theatre produced by Ryga, Pollock, Hollingsworth, and others from the s forward, which again assumes sympathetic white artists have been working in solidarity with First Nations to address colonization.

It is important to keep in mind how red face in these operas and various local historical pageants and narratives defines Canadian cultural nationalism in the s and, in many shapes, persists and continues to perpetuate neo-colonialism with the discourse of Canadian Cultural Nationalism. These contemporary operas suggest the echoes of The Lake and Ashnola persist in a manner that hints invader-settlers are constructing a slightly more "unsettled" version of the national imaginary in Works Cited Ahluwalia, Pal.

Citizenship and Identity in a Settler Society. Literary and Cultural Studies A Pioneer Gentlewoman in British Columbia: The Recollections of Susan Allison. Performance Bhabha, Homi, K. The Ambivalence of Colonial Discourse. Welcome to Ogopogo Country. Reading Postcoloniality, Reading Canada. The Fourth Summer of Playmaking at Banff. McClelland and Stewart, The Literary Project of English Canada.

U of Toronto P, Crockford, Ross "The Indian Opera. The Pleasure of the Crown: Anthropology, Law and First Nations. Counterpoint to a City: The Nation Enacted in the Imagined Theatre. Textual Studies in Canada Monograph James Hoffman and Katherine Sutherland. University College of the Cariboo, Nanook of the North: Dancing Around the Potlatch Ban, Banff Centre P, Rosie the Riveter Revisited: Women, the War, and Social Change. Native People in Canadian Literature in English.

On the Art of Being Canadian. CIHM microfiche Series Settler Feminism and Race Making in Canada. From s to the Present. Creating Rose the Riveter: Encyclopedia of Music in Canada. The British Garden of Eden: Simon Fraser UP, Opera Premier from Vancouver. International Perspectives on Contemporary Canadian Theatre.

Sherrill Grace and Albert-Reiner Glaap. A Journal of Feminist Philosophy The pact with Mr. Indeed, the Senators do keep winning once Joe joins the team.

There are a lot of unlikely plot twists from there to the happy ending. He is planted in front of the TV; she tries to have a conversation.

Soon they are joined by five other couples, all the husbands in swivel rockers, tuned only to the game, all the wives trying vainly to get their attention. Pille is not the center of every scene, but his face is so expressive, he could be.

Reacting also is acting. The fine voices and high energy of the young people in the cast, at least 8 of whom are just starting or in college.

This includes William Jackson as young Joe, whose singing voice, acting and mannerisms belie his youth. However … Damn Yankees the show is kind of creaky, repetitive and overlong — 62 years after it opened on Broadway. Still, thanks to Incline Theater for reviving it with a competent production. However, not only did Joe bargain away his soul but he also risks losing his soulmate wife Meg Michelle Wells with whom he is still very much in love. However, spoiler alert this is a musical and, chances are, there will be a happy ending.

The show is very upbeat with a lot of music and dancing, all tied to the baseball theme. The current presentation does not hit a homer but it is a good, solid triple. Jackson is only a sophomore at CCM but his voice and command of the stage promise a very bright future. The ensemble also doubles as reporters and dancers in various scenes. How could such a phenomenal player have come out of nowhere?

His background will lead to plot complications later. There is an immediate connection when his wife senses something about young Joe. Over time, however, Lola begins to soften her feelings about Joe and ends up helping him to thwart Applegate. The singing over all is good with highlights including Jackson and Michelle Wells. Perin, who plays Lola, tries to channel Gwen Verdon the original Broadway actress with reasonable success. She is a good dancer and singer and is convincing as the sexy vamp.

Steve Goers leads the band as usual but the horns need a little more practice. There is a lot of dancing in this show. It appears that Stark has combined original choreography with a touch of Fosse to overall good effect. The dancing is energetic frenetic at times and effectively moves the story along. With no curtain, the Incline set designers led by Brett Bowling have perfected the art of multisided set pieces which are turned to create a new scene.

The lighting was mostly effective although it appears they missed a lighting cue at the end of the first act.

There are a few unique sound effects by Denny Reed including the sound of a batted ball. Also, they have recorded the voices of Pete Rose who plays a disembodied Baseball Commissioner and Marty Brennaman doing a brief play-by-play of the fictional final season game between the Senators and the Yankees.

So lace up your cleats, grab your ball cap and glove and steal your way down to the Incline for the highly entertaining show Damn Yankees continuing through June Falcon Theatre These days, ballroom dancing seems reserved for reality television shows like Dancing with the Stars—something that ordinary people do not participate in.

Set in South Africa Tea Room during a rainy afternoon inMaster Harold discusses the trials and tribulations of Hally Rupert Daniel Spraulwho is having problems with his alcoholic father and enabling mother. Both Willie and Sam are avid ballroom dancers and are practicing for the upcoming dancing competition, much to the consternation of Hally.

They are have to deal with the rules of apartheid or the strict racial segregation practices that went into effect in This production had some of the best acting out of any of the Falcon Theatre productions this season.

Weil allows his actors to shine and find their own voices within the characters—something that each cast member does to perfection. Hally goes through a huge range of emotions within this short play and Spraul was able to go from being playful and nostalgic to despairing and hateful swiftly and effortlessly. A CCM Acting senior this coming academic year, Spraul is an actor to watch out for in the coming theater season.

Early is a master at how to play quiet dignity and restraint while under duress. It is a delicate balancing act that Early accomplishes beautifully. In the middle, he has to play the role of the Greek Chorus listening and responding to the stories bandied about by Sam and Hally. Means does this job exceedingly well. In short, this was an amazing production of a play that needs to be seen by the greater Cincinnati theater-going public.

It is worth the time and energy to take this ninety minute journey into the lives of these three characters. Falcon Theatre In the best of all worlds, in an ideal setting, life is hard enough for teenagers growing into maturity, reaching towards their authentic adult human self.

In the real world, fathers are crippled, physically and mentally as war veterans, ruined by alcohol, and shrunken by acquiescing to apartheid. And the Boys for a look into the past. See it for our present moment. See it for the production and the strong performances of the ensemble cast. The lights come up on Willie Deondra Means and Sam Ken Earlyimpeccably dressed in white suit coats and shirts and black pants and ties, who are employees killing time in a tea room devoid of customers on a rainy afternoon.

These men care for each other. They have been friends for a long time. He was appreciated by the audience. Soon Hally Rupert Spraulenters. The relationships are what matter. He is smooth, verbally and physically agile, confident, the epitome of white privilege. Did that term exist in ? He is youthful, exuberant. Credit dialect coach Kate Glasheen for so solidly placing the audience in South Africa through her work with the cast. Getting ready for exams, drafting a writing assignment, Hally bubbles over with his classroom knowledge.

Hally has obviously been sharing his lessons with Sam for years. Sam is a teacher and mentor as much as a father, quietly challenging and coaching Hally to consider higher, rather than lower options. Repeated calls from mom confirm that she is bringing the father home. Without any outward notice, Hally has made a monumental decision. A tense scene grows tenser as Hally struggles to choose between his father and his friend, the idealistic hopes of youth and the reality of South Africa.

But, good father that Sam is, he gives Hally another chance. Youth that he is, Hally is not able to grow into the moment.

Changing the future starts with self-made changes. And, if any of us are not up for it, we walk away. At the end, their steps are in unison. They know the song and the dance. Performances are Thursday through Saturday through May 20th at 8: For more information, go to falcontheater. It is in Port Elizabeth, South Africa. Those facts are important as background, because Master Harold is not a history lesson. Willie and Sam are middle-aged black men.

Willie and especially Sam have cared for Hally his whole life. The entire play takes place on a rainy afternoon when Hally returns from school. And the time Sam helped Hally rescue his publicly drunk father. Sam is clearly the father figure to Hally, whose own war-injured, alcoholic father is currently in the hospital.

But in a series of phone calls from his mother, Hally learns his father is coming home. Now the drinking, fighting and constant caregiving will resume. That is the emotional turning point of the play. Hally has no power over his own circumstances. But, just because he is white in in South Africa, he has power over Sam.

Hally turns his anger on Sam, with words and then a hateful gesture that produces a gasp from the audience. Spraul, still an acting student at CCMmore than holds his own with the more experienced Early and Means. The role encompasses a range of adolescent but real emotions, from cocky to frightened to furious. Spraul makes them all believable.

Early plays Sam with dignity and love. He brings the audience with him as he experiences shock, hurt and his own anger when Hally turns on him. We see his internal struggle to move past the hateful encounter toward — maybe — reconciliation. The playwright must have known his audiences would need some comic relief, so he created Willie. Means makes the most of the physical and scripted comedy he is given.

The May 11 show was unexpectedly special, as director Ted Weil arranged for pre-show remarks by Dr. Eric Jackson, associate professor of history at Northern Kentucky University. Jackson was joined post-show by the cast, with audience members also invited to join the discussion. Muslin, the fabric of first drafts of costumes, as well as sails, is featured. The walls are covered with it and the sea is built with it. And then we are off with a bang. Rose becomes Prospero, and has fun with the character.

He talks to us, the audience. He lets us in on his plot to find his daughter a worthy husband Crystian Wilsthire is a charming prince Ferdinand. He shows a tenderness to daughter Miranda the sweet Aiden Sims and powerful connection with his servant, the sprite Ariel. Kaitlin McWethy as Ariel has imbued Ariel with a fluidness and light.

Her physical transformation transfixes the audience. The Tempest is a play about the magical Prospero, who conjures up a storm to lure a boat carrying key players that not only removed his dukedom, but forced him and his daughter to spend the last 12 years on this semi-deserted island.

They spin this tale to make it accessible to audiences old and young, for example, helping Prospero conjure up characters to punctuate the exposition. We understand the different stories, who is who and why.

The directors highlight the enchantments on the island, never letting us forget there is magic, especially through the use of light, music, and movement.

Kudos to illusionists Doug Borntrager projections and soundand Justen N. The theme of the play is forgiveness. Celebrating who we are now, and dancing for hope of the future. Was this Race Street home their muslin mock-up, the rough draft for the wonders to come? Call now for tickets Seats are selling fast, www. The play tells the story of sorcerer Prospero Nicholas Rosethe rightful Duke of Milan, who is set adrift with his daughter Miranda Aiden Sims and, years later, plots revenge against his usurpers.

Using magic, he conjures an immense storm and tricks his nemesis brother re-named Antonia and played by Kelly Mengelkoch and King of Naples Alonso Jim Hopkins into thinking that they have been marooned on the island as well. The dispenser of his magical charms is sprite Ariel played intriguingly by Caitlin McWethy who shadows most of the characters unseen by all but Prospero.

His ministrations succeed admirably. The Shakespeare Company has an advantage in that it is a resident group of actors who work together year round which is reflected in the ease with which they interact. There are some outstanding performances including Rose as Prospero who is both a character and a narrator and McWethy as Ariel who is part sprite, part enchantress and part scene stealer.

Barnes has an interesting take on Caliban with reptilian mannerisms and an undefinable accent. This mixture makes this an unusual and interesting Shakespearian play. But the really interesting aspect of the show is the staging designed by Shannon Robert which is a combination of modern technology and some very old-fashioned theatrical tricks such as using sheets manipulated by actors to simulate waves. As you walk into the theater, there is a bare stage flanked by shabby sail material against the aisle walls.

The play opens with a single light and recordings of numerous well-known Shakespearean quotes from other shows. Suddenly, the storm starts and we see projections of waves on the walls accompanied by the clash of thunder and actors simulating the rocking of the ship.

Throughout the show, we see numerous surreal projections adding to the eeriness and effective use of many small lights hanging from the ceiling above the audience, all designed and controlled by Justen Locke.

At the end of the play, the actors strip the canvas from the walls and the play reverts to a black stage with the actors out of costume and in street clothes. It seems to be an ending to the era of the current theater. During the process, both Higgins and Doolittle are transformed in ways that neither could imagine.

Linguist Higgins Brent Alan Buringtona product of the British caste system, is an arrogant, self-absorbed bachelor who is wedded to his work and views Eliza only as a challenge and not as a person. This is one of the best scores ever written for a musical. The large ensemble cast, who variously play cockney laborers and upper class snobs, is universally good with a few playing supporting characters such as Brandon Bentley Zoltan Karpathy and Mary Puetz Mrs. All are good singers.

Maggie Perrino has choreographed simple but alternately energetic and elegant dance routines ranging from the cockney workers to the sumptuous Embassy waltz number. The set is detailed, functional and effective. Caren Young must have busted the budget with an array of costumes including working clothes, upper class suits and dresses, formal dance apparel and several gorgeous gowns worn by Eliza.

Due to the large cast, there are a lot of costumes. My only quibble is that the horn section of the band may need more practice. So, if you want to see a good production of a marvelous musical, Dance all Night on the Street Where the Covedale Lives continuing through May Featuring some of the best songs in American musical theatre history, My Fair Lady is easily the most ambitious production at Covedale Center for the Performing Arts this year.

My Fair Lady boasts one of the best Broadway pedigrees, ever. Originally a play by George Bernard Shaw, the show as a musical languished in development for years before Lerner and Loewe were able to adapt it properly.

scène supprimée - deleted scene of Meet the Robinsons

For Covedale audiences, Brent Alan Burington commands in the role of Henry Higgins, the brilliant-but-cold phonetics expert trying to train Eliza Doolittle to act and speak like a woman of high society. Sarah Viola returns to the Covedale stage as Eliza, and brings not only her elegant, powerful singing voice, but also her raucous, Cockney-accented shrieks.

As strong as the lead actors are, the entire cast deserves credit for how well they work together. Special recognition goes to Matt Dentino. Every cast member could be understood, whether they had a microphone or not. Viola has the task of both speaking and singing in multiple accents over the course of the show, and it was fun to hear how she transformed her voice from an obnoxious, ignorant flower girl into a classy, self-assured woman.

The live band led by Xan Jeffery is a welcome addition for this show as well. Again, the sound quality was great and there was never a time when the words were drowned out.

The pieces and flats that take the audience to the streets of Edwardian London look almost like 3D pencil sketches. They give the stage a storybook feel, and it helps focus attention on the actors. Two of the side set pieces rotate and the flats slide open to reveal a more detail-oriented space. Another rotation and the addition of some trellises turn the stage into opening day at the Ascot Gavotte.

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The tan suit that Higgins wears for most of the show is spot on. The ensemble cast has to switch looks from poor laborers to butlers and maids to high society, and none of their looks ever felt out of place. There was no one in the audience left wanting by the end. This production is sponsored by Arnold and Mary Jo Barnett, and they were in attendance on opening night. Within seconds of the start of curtain call, they were both on their feet, and the rest of the audience soon followed. They all agreed that Covedale saved the best for last.

Who would believe a story of a visiting angel telling a man to dig up gold plates that have holy text inscribed on them and creating a whole new religion from that? That is the truth Mormons tell of Joseph Smith and his starting their religious movement. It is hard to believe that Joseph Smith would embrace an escaped slave, invite him to be one of his 17 apostles and make him a trusted adviser. That is not historical. See this world premiere production and admire the strong acting talent Cincinnati theatres have nourished.

The three are an ensemble cast, and each play multiple roles, but they shine as their main characters. Tamara Winter deserves credit for her direction. She does much more than keep the cast in motion. Eli is an escaped slave in the Frederick Douglass mold: His is a quiet power, expressed in facial expressions and gestures.

Like Benjamin, Katawick twists up his face as he looks skyward, imploring God. His is a more explosive and spirited performance, but it is always authentic to the character portrayed. But while the backwoods teen is illiterate, she has as much integrity as her fellow protagonists.

Not in Act I. Pegs adorn the walls from which costume changes hang. This seems shoehorned into the left half of the stage. The right half is open, the back wall serving as a screen for grainy black and white film clips that match the scene. Doug Borntrager designed sound and video. While Lula awaits word from above, the people of Nauvoo, Illinois are about to run the Mormons out of town. Smith catalyzes this action by ordering his followers to destroy a printing press and torch the building.

Smith eventually is taken to jail, a death sentence when a mob breaks in. The blood appearing on his shirt is a great touch made possible by designers Sarah Beth Hall scenic and prop design and Noelle Wedig costume design.

This all sounds serious, and is, but there are plenty of opportunities to laugh. Their head-to-toe brown cloaks, heads covered by bonnets, cannot hide their height or maleness.