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Boo-Hooray Catalog #10: Flyers
Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon. -
Riis's How the Other Half Lives
How the Other Half Lives http://www.cis.yale.edu/amstud/inforev/riis/title.html HOW THE OTHER HALF LIVES The Hypertext Edition STUDIES AMONG THE TENEMENTS OF NEW YORK BY JACOB A. RIIS WITH ILLUSTRATIONS CHIEFLY FROM PHOTOGRAPHS TAKEN BY THE AUTHOR Contents NEW YORK CHARLES SCRIBNER'S SONS 1890 1 of 1 1/18/06 6:25 AM Contents http://www.cis.yale.edu/amstud/inforev/riis/contents.html HOW THE OTHER HALF LIVES CONTENTS. About the Hypertext Edition XII. The Bohemians--Tenement-House Cigarmaking Title Page XIII. The Color Line in New York Preface XIV. The Common Herd List of Illustrations XV. The Problem of the Children Introduction XVI. Waifs of the City's Slums I. Genesis of the Tenements XVII. The Street Arab II. The Awakening XVIII. The Reign of Rum III. The Mixed Crowd XIX. The Harvest of Tare IV. The Down Town Back-Alleys XX. The Working Girls of New York V. The Italian in New York XXI. Pauperism in the Tenements VI. The Bend XXII. The Wrecks and the Waste VII. A Raid on the Stale-Beer Dives XXIII. The Man with the Knife VIII.The Cheap Lodging-Houses XXIV. What Has Been Done IX. Chinatown XXV. How the Case Stands X. Jewtown Appendix XI. The Sweaters of Jewtown 1 of 1 1/18/06 6:25 AM List of Illustrations http://www.cis.yale.edu/amstud/inforev/riis/illustrations.html LIST OF ILLUSTRATIONS. Gotham Court A Black-and-Tan Dive in "Africa" Hell's Kitchen and Sebastopol The Open Door Tenement of 1863, for Twelve Families on Each Flat Bird's Eye View of an East Side Tenement Block Tenement of the Old Style. -
Why Hip Hop Began in the Bronx- Lecture for C-Span
Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 10-28-2019 Why Hip Hop Began in the Bronx- Lecture for C-Span Mark Naison Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Ethnomusicology Commons Why Hip Hop Began in the Bronx- My Lecture for C-Span What I am about to describe to you is one of the most improbable and inspiring stories you will ever hear. It is about how young people in a section of New York widely regarded as a site of unspeakable violence and tragedy created an art form that would sweep the world. It is a story filled with ironies, unexplored connections and lessons for today. And I am proud to share it not only with my wonderful Rock and Roll to Hip Hop class but with C-Span’s global audience through its lectures in American history series. Before going into the substance of my lecture, which explores some features of Bronx history which many people might not be familiar with, I want to explain what definition of Hip Hop that I will be using in this talk. Some people think of Hip Hop exclusively as “rap music,” an art form taken to it’s highest form by people like Tupac Shakur, Missy Elliot, JZ, Nas, Kendrick Lamar, Wu Tang Clan and other masters of that verbal and musical art, but I am thinking of it as a multilayered arts movement of which rapping is only one component. -
Old Heads Tell Their Stories: from Street Gangs to Street Organizations in New York City
DOCUMENT RESUME ED 412 305 UD 031 930 AUTHOR Brotherton, David C. TITLE Old Heads Tell Their Stories: From Street Gangs to Street Organizations in New York City. SPONS AGENCY Spencer Foundation, Chicago, IL. PUB DATE 1997-00-00 NOTE 35p. PUB TYPE Reports Research (143) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Adults; *Delinquency; Illegal Drug Use; *Juvenile Gangs; *Leadership; Neighborhoods; Role Models; Urban Areas; *Urban Youth IDENTIFIERS *New York (New York); Street Crime ABSTRACT It has been the contention of researchers that the "old heads" (identified by Anderson in 1990 and Wilson in 1987) of the ghettos and barrios of America have voluntarily or involuntarily left the community, leaving behind new generations of youth without adult role models and legitimate social controllers. This absence of an adult strata of significant others adds one more dynamic to the process of social disorganization and social pathology in the inner city. In New York City, however, a different phenomenon was found. Older men (and women) in their thirties and forties who were participants in the "jacket gangs" of the 1970s and/or the drug gangs of the 1980s are still active on the streets as advisors, mentors, and members of the new street organizations that have replaced the gangs. Through life history interviews with 20 "old heads," this paper traces the development of New York City's urban working-class street cultures from corner gangs to drug gangs to street organizations. It also offers a critical assessment of the state of gang theory. Analysis of the development of street organizations in New York goes beyond this study, and would have to include the importance of street-prison social support systems, the marginalization of poor barrio and ghetto youth, the influence of politicized "old heads," the nature of the illicit economy, the qualitative nonviolent evolution of street subcultures, and the changing role of women in the new subculture. -
Lewis, Doreen Lewis, Doreen
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 10-7-2015 Lewis, Doreen Lewis, Doreen. Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Lewis, Doreen. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewer: Mark Naison Interviewee: Doreen Lewis, Pamela Lewis Session: 1 of 1 Page 1 Transcriber: Connor Murphy Tape 1, Side A Mark Naison (MN): Is the 121st interview of the Bronx African-American History Project, taking place July 20th at Fordham University. We’re here with Doreen and Pamela Lewis, and this is the first of many interviews which will take place about the Edenwald Houses, the largest public housing complex in the North Bronx. To begin with, Doreen, tell us a little bit about your family background and how they came to New York. Doreen Lewis (DL): Ok, my mother is from Abingdon, Virginia, and my father is from Grassy Creek, North Carolina. MN: How did they end up coming to New York City? DL: Well my dad’s family migrated from North Carolina, which was - - well it is Indian reservation territory which became depleted, there was no action at all on the land, so they migrated over to West Virginia, which is a coal mining state, and he didn’t want that kind of work. -
Tussen Gangsta Rap En Lieve Hip Hop Een Onderzoek Naar De Verschillen Tussen Nederlandse En Amerikaanse Hip Hop Onder Nederlandse Hip Hop- Liefhebbers
Tussen gangsta rap en lieve hip hop Een onderzoek naar de verschillen tussen Nederlandse en Amerikaanse hip hop onder Nederlandse hip hop- liefhebbers Maurice Wehrmeijer (302466) Begeleider: An Kuppens PhD Datum: 30 juli 2012 1 Inhoudsopgave Hoofdstuk 1 – Inleiding blz. 4 Hoofdstuk 2 – Theoretisch kader blz. 7 2.1 Hip hop: een korte geschiedenis blz. 7 2.1.1 Sleutelfiguren in het ontstaan van hip hop blz. 8 2.1.2 Opname in Amerikaanse mainstream blz. 10 2.1.3 Invloeden op de hip hop-cultuur blz. 12 2.1.4 Verschillende definities van hip hop blz. 15 2.2 Culturele globalisering en globalisering van hip hop blz. 17 2.2.1 Modellen voor culturele globalisering blz. 17 2.3 Van globalisering naar lokalisering blz. 24 2.4 Authenticiteit in muziek blz. 26 2.4.1 Authenticiteit in hip hop blz. 28 Hoofdstuk 3 – Probleemstelling en onderzoeksvragen blz. 32 3.1 Wetenschappelijke en maatschappelijke relevantie blz. 34 Hoofdstuk 4 – Methode en onderzoeksopzet blz. 36 4.1 Diepte-interview blz. 36 4.2 Betrouwbaarheid en validiteit blz. 37 4.3 Steekproef blz. 38 4.3.1 Doelpopulatie blz. 39 4.3.2 Respondenten blz. 40 4.4 Afnemen van interviews blz. 42 4.4.1 Topiclijst blz. 42 4.5 Data-analyse blz. 43 Hoofdstuk 5 – Resultaten blz. 44 5.1 Muzikale verschillen tussen Nederlandse en Amerikaanse blz. 45 hip hop 5.1.1 Muziekbeleving blz. 45 5.1.2 Verschillende stijlen binnen hip hop blz. 49 5.1.3 Verschillende in muziekproductie tussen Nederlandse en blz. 51 Amerikaanse hip hop 5.1.4 Tekstuele verschillen tussen Nederlandse en Amerikaanse blz. -
Chapter 1—Introduction
NOTES CHAPTER 1—INTRODUCTION 1. See Juan Flores, “Rappin’, Writin’ & Breakin,’” Centro, no. 3 (1988): 34–41; Nelson George, Hip Hop America (New York: Viking, 1998); Steve Hager, Hip Hop: The Illustrated History of Breakdancing, Rapping and Graffiti (New York: St. Martin’s Press, 1984); Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994); David Toop, The Rap Attack 2: African Rap to Global Hip Hop (London: Serpent’s Tail, 1991). 2. Edward Rodríguez, “Sunset Style,” The Ticker, March 6, 1996. 3. Carlito Rodríguez, “The Young Guns of Hip-Hop,” The Source 105 ( June 1998): 146–149. 4. Clyde Valentín, “Big Pun: Puerto Rock Style with a Twist of Black and I’m Proud,” Stress, issue 23 (2000): 48. 5. See Juan Flores, Divided Borders: Essays on Puerto Rican Identity (Hous- ton: Arte Público Press, 1993); Bonnie Urciuoli, Exposing Prejudice: Puerto Rican Experiences of Language, Race and Class (Boulder, CO: West- view Press, 1996). 6. See Manuel Alvarez Nazario, El elemento afronegroide en el español de Puerto Rico (San Juan: Instituto de Cultura Puertorriqueña,1974); Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cam- bridge, MA: Harvard University Press, 1993); Marshall Stearns, The Story of Jazz (Oxford: Oxford University Press, 1958); Robert Farris Thompson, “Hip Hop 101,” in William Eric Perkins, ed., Droppin’ Sci- ence: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), pp. 211–219; Carlos “Tato” Torres and Ti-Jan Francisco Mbumba Loango, “Cuando la bomba ñama...!:Reli- gious Elements of Afro-Puerto Rican Music,” manuscript 2001. -
Es War Einmal in Amerika
Es war einmal in Amerika Comic | Julian Voloj/Claudia Ahlering: Ghetto Brother Der Comic ›Ghetto Brothers‹ zeichnet anhand des Wirkens von Benjamin Melendez jene Geschichte nach, die den Grundstein für die Pionierleistungen der ersten Hip-Hop Akteure legte. Von CRISTIAN NEUBERT »Im Fernsehen sah ich mal Bilder vom zerbombten Dresden. (…) Die South Bronx war wie Dresden. Und wir waren die Könige dieses Trümmerhaufens.« Diese Worte stammen von Benjamin »Yello Benji«Melendez. Als Sohn puerto-ricanischer Einwanderer kam er 1963 nach New York. Auf den Straßen hatten die Gangs das Sagen, in der Bronx und in Harlem gab es etwa 100 davon, insgesamt zählten sie über 10.000 Mitglieder. Auch Melendez suchte deren Nähe, wurde zunächst Mitglied der Cofon Cats. Als 14-jähriger gründete er mit seinen Brüdern jedoch seine eigene Gang: Die Ghetto Brothers. Sie lernte von den Besten: Wie bei den Hells Angels zierten Aufnäher die Kutten der Mitglieder; die Gang- Insignien – drei Mülltonnen – einfach aufzumalen, erschien nicht martialisch genug. Natürlich lernten sie auch von der Straße selbst: Die Ghetto Brothers scheuten keine Auseinandersetzung, setzte aber auch auf Koalitionsabkommen. Und als Heroin die Bronx zu überschwemmen drohte, vertrieb Melendez mit seiner Gefolgschaft die Dealer. Zu diesem Zeitpunkt zählten die Ghetto Brothers rund 2.000 Mitglieder allein in der Bronx. In den Straßen der Bronx Rassengrenzen spielten zunächst keine große Rolle in den Gangs, vielmehr ging es um die Herkunft der Mitglieder innerhalb der Gang-Territorien. Als es dennoch zur Spaltung zwischen Puerto-Ricanern und Afroamerikanern kam, wirkte Yello Benjy dem entgegen, indem er einen freundschaftlichen Kontakt zu Jospeh Matumaini pflegte, einem Black Panther-Mitglied, der Aufklärungsarbeit leistete hinsichtlich Bildung und Gesundheitsversorgung. -
Hip Hop and Resistance: a Theoretical Hypothesis
The struggle to belong Dealing with diversity in 21st century urban settings. Amsterdam, 7-9 July 2011 “Rebel Without a Pause” (Public Enemy) Hip Hop and Resistance: a theoretical hypothesis Martin Lamotte Paper presented at the International RC21 conference 2011 Session: Urban Order, Crime and Citizenship. N. 27. Gwen van Eijk and Rivke Jaffe Martin Lamotte Anthropology PhD Student UMR 194 EHESS- CEAF École des Hautes Etudes en Science Sociale and, VESPA Institut National de la Recherche Scientifique 1 Abstract In the 1970s, as the city of New York is diving into a deep financial crisis, the Bronx is in the middle of a rival gangs’ confrontation. However in 1971, South Bronx gangs gather and sign a treaty of truce. Afrikaa Bambaataa, a young Warlord of the Black Spade gang emerges as a peace builder and in 1975 he creates his own organization, the Zulu Nation, that brings together the four components of Hip Hop culture (D jing, Mc ing, B boyin, graffiti). He organizes the first block parties, which are informal parties where the DJs illegally plug their sound systems on the municipal electric network. Gangs finance and protect the block parties, with the agreement and sometimes the benediction of the community. But most of all, the block parties catalyze the South Bronx youth and for a moment pacify gangs. Using the resistance paradigm, and Cornel West’ substantial conception of the cultural democracy, I will question whether Hip Hop, engages and potentially challenges American democracy in creating an autonomous space to put citizenship in practice. 2 Introduction1 « The Revolution will not be televised » A few weeks ago, Gil Scott Heron, the God Father of Hip Hop, as most MCs called him, died. -
Violence by Youth Gangs and Youth Problem in Major American Cities
If you have issues viewing or accessing this file contact us at NCJRS.gov. Violence By Youth Gangs And Youth Groups As A Crime Problem In Major American Cities f, . , Monograph J' ," . LOAN DO'CU" RETURN TO: . M£NT NCJRS P. O. BOX 24.035 . .. ' WASHINGTONn c.'.. S-:OPOSTOFFIC£ • ..,. 24 '. , , "' Nlitionlilinstitute for Juvenile Justice and DelinquehcyPrevention .' Office of Juvenile Justice; and Delinqu~~cyPreveritiolt .' . , . ,'.::..' l); \::" ; ": Law Enforcement Assistance'Administrati~n . '. '\\ U,S. Department of JlISfice r 1 ~. ~. - ~l;&,B Violence By Youth Gangs And Youth Groups As A Crime Problem In Major '. American Cities This project was supported by Grant Monograph Number 74-NI-99-0047 awarded to the Center for Criminal Justice of the Harvard Law School by the National Institute for Juvenile Justice and De Walter B. Miller linquency Prevention, ,Law Enforce ment Assistance Administration. U.S. Center for Criminal Justice Department of Justice tinder the Harvard Law School Omnibus Crime ContrQI and Safe Streets Act-of 1968,. as amended. i 1 . Cambridge, Mass. Points of view or opinions stated in .\ this document are those of the author and do not necessarily represent the official position of the U.S. Depart December 1975 ment of Justice. 'd ACQUISITIO,NS National Institute for Juvenile Justice and Delinquency Prcwention . Office of 1uvenile Justice and Delinquency Prevention Law Enforcement Assistance Administr.atlon: U.S. Department ofJustice li'or sale by tho superluten!le~tol Documents, u.s. Gov~ment PrIntllll OlBae . Wasbilllton, D.C.l1Al4Irl- PrIce $1.40 . ' .Stoct'No. 027-oocrooc99-7 , Table of Contents Chapter I A National-level Survey of Youth Gangs and Groups: Rationale and Methods ....................... -
Resignificando Al Rap Como Narrativa Artística: Una
1 RESIGNIFICANDO AL RAP COMO NARRATIVA ARTÍSTICA: UNA APROXIMACIÓN A LA CONSTRUCCIÓN DE MEMORIA, LENGUAJE METAFÓRICO Y ESTÉTICA EN LAS CANCIONES DE CEJAZ NEGRAZ. BRAYAN STEVEN SIERRA RODRÍGUEZ 20081160039 MARCOS ALEJANDRO DAZA BARRETO 20082160028 Trabajo monográfico presentado para optar al título de Licenciado en Educación Básica con Énfasis en Humanidades y Lengua Castellana UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE CIENCIAS Y EDUCACIÓN LICENCIATURA EN EDUCACIÓN BÁSICA CON ÉNFASIS EN HUMANIDADES Y LENGUA CASTELLANA BOGOTÁ 2016 2 RESIGNIFICANDO AL RAP COMO NARRATIVA ARTÍSTICA: UNA APROXIMACIÓN A LA CONSTRUCCIÓN DE MEMORIA, LENGUAJE METAFÓRICO Y ESTÉTICA EN LAS CANCIONES DE CEJAZ NEGRAZ. BRAYAN STEVEN SIERRA RODRÍGUEZ 20081160039 MARCOS ALEJANDRO DAZA BARRETO 20082160028 Trabajo monográfico presentado para optar al título de Licenciado en Educación Básica con Énfasis en Humanidades y Lengua Castellana Director WILMER VILLA AMAYA UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE CIENCIAS Y EDUCACIÓN LICENCIATURA EN EDUCACIÓN BÁSICA CON ÉNFASIS EN HUMANIDADES Y LENGUA CASTELLANA BOGOTÁ 2016 3 NOTA DE ACEPTACIÓN ______________________________________ ______________________________________ ______________________________________ ______________________________________ ______________________________________ ______________________________________ Firma del presidente del jurado ______________________________________ Firma del jurado ______________________________________ Firma del jurado ______________________________________ -
Marvel Comics and New York Stories: Anti-Heroes and Street Level Vigilantes Daredevil and the Punisher
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Marvel Comics and New York Stories: Anti-Heroes and Street Level Vigilantes Daredevil and The Punisher Jesse Allen Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/402 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Marvel Comics and New York Stories: Anti-Heroes and Street Level Vigilantes Daredevil and The Punisher By: Jesse Allen A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree for Master of Arts, The City University of New York 2014 !!" " This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the requirement for the degree of Master of Arts. Thesis Adviser: Date: Cindy Lobel Approved Executive Officer: Date: Matt Gold " " " " " " The City University of New York !!!" " Marvel Comics and New York Stories: Anti-Heroes and Street Level Vigilantes Daredevil and The Punisher By: Jesse Allen Thesis Adviser: Cindy Lobel Abstract Thesis Adviser: Cindy Lobel This thesis argues that the creation of street level, vigilante heroes The Punisher and Daredevil created by Marvel Comics authors and illustrators in the late 1970s and early 1980s reflected the socio-economic environment of New York City at this same moment in history.