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Can’t believe Jonathan Legard is still commentating the Volleyball after all these years
There was a time he was the English speaking voice of Formula 1
There was a time he was the English speaking voice of Formula 1
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Before Murray?Can’t believe Jonathan Legard is still commentating the Volleyball after all these years
There was a time he was the English speaking voice of Formula 1
Has she been signed up as part of Channel 7's Saturday night footy coverage yet?Female commentator in the volleyball just said that “volleyball is 50% mental and 50% in the head”
He did the radio commentary for the BBC after they lost the rights to ITV (Funnily enough David Croft took over after him)Before Murray?
Apparently the first syllable in his surname is pronunced the same as ledge, in flagrant violation of spelling convention.Can’t believe Jonathan Legard is still commentating the Volleyball after all these years
There was a time he was the English speaking voice of Formula 1
Our hearts yesDid the Aussie breakdancer lady win?
True for pretty much every country. Russia win alot more gold medals than just rhythmic gymnastics and artistic swimming. The US would’ve won some that a Russian would’ve won as well.China are benefiting by Russia not being there to take medals away from them in rhythmic gymnastics and artistic swimming. Might just win them the overall medal table.
Surely he's trotted out his catch phase of the meet "Nailed it"Tubby Taylor loved that dive so it must have been a good one.
Indeed it was, 90+ score for the Chinese diver.
No she was just bad Full Stop! she got duck eggs from the judges and embarrassed the nation into a bunch of memes.She was so bad she was brilliant, along with McEvoy's gold and Hull's silver my highlights for the games.
Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
Tell us a bit about your current research and what makes it so important?
My current practice-based research is an extension of my previous work – in developing new vocabularies and ways of moving in breaking that challenge and expand the gender binary – but it is taking it to the high-stakes environment of the Olympics. The intense sportification of this environment has led me to a much greater engagement with strength and conditioning programs, and working on difficult and dynamic moves for the big stage. However, I am also trying to use this platform to say something artistically – about movement, about creativity, about the possibilities of the body. This is particularly important as this may be the only time breaking is in the Olympics, as it’s not included in the LA28 program. With the breaking judging not requiring the performance of set moves, the Olympics stage offers a global platform to challenge not only what we think bodies can do, but how bodies can move.