DOCSLIB.ORG

Ce Document Est Le Fruit D'un Long Travail Approuvé Par Le Jury De Soutenance Et Mis À Disposition De L'ensemble De La Communauté Universitaire Élargie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ce Document Est Le Fruit D'un Long Travail Approuvé Par Le Jury De Soutenance Et Mis À Disposition De L'ensemble De La Communauté Universitaire Élargie AVERTISSEMENT Ce document est le fruit d'un long travail approuvé par le jury de soutenance et mis à disposition de l'ensemble de la communauté universitaire élargie. Il est soumis à la propriété intellectuelle de l'auteur. Ceci implique une obligation de citation et de référencement lors de l’utilisation de ce document. D'autre part, toute contrefaçon, plagiat, reproduction illicite encourt une poursuite pénale. Contact : [email protected] LIENS Code de la Propriété Intellectuelle. articles L 122. 4 Code de la Propriété Intellectuelle. articles L 335.2- L 335.10 http://www.cfcopies.com/V2/leg/leg_droi.php http://www.culture.gouv.fr/culture/infos-pratiques/droits/protection.htm UNIVERSITEDEMETZ Ecole doctorale UFRLettres et Langues Perspectivesinterculturelles : ., Départementd'Anglais Ecrits,A médias, t a, espaces, Socié1es, Z o-o026 L Les implications sociopolitiquesdu rap afro-américain.De ltengagementnen, school au nihilisme gungstu Thèse de doctorat de I'Université de Metz soutenuepar Mlle Nathalie Karanfilovic sousla direction de Monsieur le ProfesseurRobert Springer Centre de Recherche: Centre d'étudesde la traduction BIELIO1HEGUEIffi[flilHililffiilIilI.Jî{IYEREITAIRE DE ffTZ 031 536062I Annéeuniversita ire 2003-2004 UNTVERSITÉDEI\TETZ UFR Lettreset Langues Départementd'Anglais Les implications sociopolitiquesdu rap afro-américain.De ltengagementnew school au nihilisme gangsta Thèsede doctoratde I'Universitéde Metz soutenuepar Mlle NathalieKaranfilovic sousla directionde Monsieurle ProfesseurRobert Springer Centrede Recherche: Centred'études de la traduction t- Annéeuniversita ire 2003-2004 REMERCIEMENTS Mes remerciementsvont en premierlieu à toutesles personnesqui mbnt soutenuede prèsou de loinet qui m'ontpermis d'accomplir ce travail. Je tiensnotamment à remercierma famille, ma sæurCatherine et mesamis qui ontsu m'entourerde leurs conseilset de leur soutienen toutessituations. J'exprime tout particulièrementma gratitudepour leur disponibilité,leur soutien moral et leur compréhensionà FrédéricAuvrai, AlexandraMathieu, Audrey Sgorlonet Béatrice Simon. Je suiségalement reconnaissante envers les rappeurs,artistes et acteursde la scène hip hopque j'ai pu croiserau coursde cesannées et qui m'ontsi généreusementoffert de plongerdans leur univers pour mieux en saisirtoute la dimensionartistique. Toutema gratitudeva égalementà la FrenchAmerican Foundation qui m'a permisde complétermon travail de doctorante. Je remercievivement mon directeurde thèse,le ProfesseurRobert Springer dont je tiens à saluerla patienceet la perspicacitéde ses remarquesqui m'ontguidée pour menerà biencette étude. Je remercieenfin ma mèreet ma famillequi ont su m'entourerau coursde ces années de leurinestimable affection. Writingabout musicis like dancingabout architecture ElvisCostello ...blackmusic is notonly conspicuous within but crucial fo, black culture. lt hasoften beenasserted that music-its place in societyand its formsand functions-reflects the generalcharacter of the society.lt has,however, rarely been suggested that music is potentiallya basis for socialstructure. Yet I contendthat music is notonly a reflectionof the valuesof blackculture but, to someextent, the basisupon which it is built...the investigationof black music is alsothe investigationof the black mind, the black social orientation,and primarily, the black culture.l Dans son essai,Black Talk,Ben Sidranexamine avec sagacité ce qui fait la spécificitéde la musiqueafro-américaine. D'après I'auteur, cette demièrefait non seulementpartie intégrantede la communautéafro-américaine, elle est aussi un véritablesocle sur lequelse fondela sociéténoire américaine. Son étudeouvre ainsi de vasteschamps d'exploration liés à la culture,à la sociétéet à I'expériencenoires. La tâcheque nous nous sommesfixée dans le cadrede ce travailest précisément d'étudierle derniergenre musicalafro-américain, le rap, et de mettre au jour les dimensionssociales et politiquesde sondiscours. Que nous disent les rappeurssur la communautéafro-américaine, ses aspirationset ses contradictions? Que nous révèlent-ilssur la sociétéaméricaine et son évolution? Enfin,à quel rôle socialvoire politiquepeuvent-ils prétendre ? Audelà de la dimensionesthétique de la musique,nous partirons du postulat que la musiqueest un < fait social>2 qui a ( ses antécédentset ses retentissements dansla vie collective,rt, qu'elleest le produitd'un réel historique,social et technique, son ( contenuidéologique immanent >ra, selon la formuled'Adomo. Nous aborderons ainsile champmusical dans ses rapportsavec la sociétéet pounonsappréhender le rapcomme symptôme de celle-ci,mais aussi en tantque phénomènesocial.s Pour aborderle thème,nous avonschoisi la démarchede JacquesAttali qui consisteà < mettreen relation,au traversde leurinscription dans I'histoire, les aspects 1 BenSidran , BlackIalk, NewYork: Holt, Rinehart & Winston,1971, p. xiii. t E.if" Durkheim,Les êgles de ta méthde sociotogique,Paris : PUF,Quadrige, 1981, p. Xlll, citédans Anne-MarieGreen, De ta musiqueen sociologie,lssy-lès-Moulineaux : Editions EAP, 1993, p. 45. 3 Anne-MarieGreen, ibrd., p. 50. 4 TheodorAdomo, 'Réflexions en vue d'uneSociologie de la Musique",Musique en Jeu, N' 2, Paris: Le Seuif, 1972,p. 7, citédans Anne-Marie Green, ibid., p. 127. 5 Anne-MarieGreen, op. cit., pg. 4142. u sociauxet musicauxet lesfacteurs socio-économiques et politiques. t Pourreprendre tes termesd'Attali dans son étudeconsacrée aux ( bruits>, la musiqueest < parallèle à la sociétédes hommes,structurée comme elle et changeanteavec elle >7.Elle est en effet < miroir de la réalitén8, selon la penséemaxiste, et sa missionest de renvoyerI'image réelle de la sociétéet de ses valeurs.Attali lui confèremême un caractèreprophétique. La musiquene serait pas seulement< l'échode I'esthétique d'un temps,mais aussi le dépassementdu quotidienet I'annoncede son avenir>s. Miroirsdéformants et transformants,les expressionsmusicales agissent néanmoins commedes révélateurssociaux ambivalents. Le fait musicaldevient < instrumentde pouvoiret sourcede révolte>10. Pourmieux comprendre l'émergence du phénomènerap et appréciertoutes les dimensionsde son message,nous rappelleronsque les musiquesafro-américaines ont, plus que toutes formes de musiquespopulaires, dépassé la seule pratique esthétiqueet musicalepour s'inscriredans la critiquesociale et politique.Dépourvus de repèresfamiliers et s'efforçantde s'adapterà un nouvelenvironnement, les Africainsdébarqués dans le NouveauMonde avaient peu à peu perdu leur identité africainedans un processussouvent douloureux et schizophrénique.Sur les bases d'un héritageculturel africain qu'ils conserveront - inconsciemment ou consciemment- tt, les Afro-Américainsont développéau cours des sièclesdivers genres musicaux inéditsqui ont reflétél'évolution de leurs différentesexistences sociales, d'esclaves, d'affranchis,puis de citoyensaméricains. Chaque création musicale a illustréles changementsbrutaux apparus dans I'histoire du peupleafro-américain, ce qui permet à LeRoiJones dans B/ues People de remarquer: Themost expressive Negro music of anygiven period will be an exact reflection of what theNegro himself is. lt willbe a portraitof theNegro in Americaat thatparticular time. Whohe thinks he is, what he thinks America or theworld to be,given the circumstances, prejudices,and delightsof that particularAmerica. Negro music and Negrolife in Americawere alwaysthe resultof a reactionto, and an adaptationof, whatever AmericanNegroes were given or could secure for themselvesl2. 6 tbid.,p.1rz. t J""qu", Attali,Bruds : Essaisurlé conomiepolitique de la musique,Paris: Fayard ,2001 (1977'), p. 13. t nia.,p.'tz. I tbid.,p.14. 'o nia.,p.ta. tt Hifdr"dRoach, Btack Amerban Music: Past and Present,Malabar, FL: Krieger,1992,p.7 L'apparitiondes différentscourants musicaux afro-américains qui ont constituéla tramede la musiquepopulaire américaine est en effet indissociablede son contexte socio-historique.C'est pour soutenirI'effort de leurs travaux et se préserverde f'aliénation que les esclaveslancent leurs premierscris (< field hollers>) qui se transformeronten chants(< fietdsongs >). AprèsI'indépendance des Etats-Unis,c'est à l'églisequ'ils jettent les basesd'une musique afro-américaine, notamment à travers les negro-spiritualsqui leur offrent une théologiede I'espoiret leur permettent d'endureravec dignité les avilissements dont ils sontl'objet. A la fin du XlXe siècle,le blues devientalors le remède à la solitudeet au rejet auxquelsces nouveaux affranchissont confrontés.Après la SecondeGuerre mondiale,on assisteà une absorptioncontinue de la musiqueafro-américaine dans le courantdominant. Lors du mouvementdes droitsciviques, alors que les Noirsluttent pour une égalitéde fait, la soul revendiqueleur fierté d'être noirs et les exhorteà se redresser.Si le funk,puis le disco amènentdans les années 1970la musiquenoire américaine vers plus de légèreté,le rap devientlors de la décenniesuivante I'expression condensée du rejet social des habitantsdu ghettoet annoncede manièreprophétique I'explosion des violencesurbaines à venir. Alors que les spirituals,le blues ou encore la soul témoignaienteuphémiquement des rapportsqui opposaientles Noirs au pouvoir dominant,le rap se caractérisepar son réalismesocial et sa nette agressivité, virulencequ'il dévoile tant dans le fond,dans ses choixthématiques, que danssa formemusicale. Si nousavons choisi de nousintéresser au rap,c'est qu'il est actuellementet sans contestele courantmusical afro-américain le plus priséà traversle mondeet qu'ilest
Load more

Recommended publications
  • 112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12
    112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12 Gauge Dunkie Butt 12 Gauge Dunkie Butt 2 Live Crew Sports Weekend 2nd II None If You Want It 2nd II None Classic 220 2Pac Changes 2Pac All Eyez On Me 2Pac All Eyez On Me 2Pac I Get Around / Keep Ya Head Up 50 Cent Candy Shop 702. Where My Girls At 7L & Esoteric The Soul Purpose A Taste Of Honey A Taste Of Honey A Tribe Called Quest Unreleased & Unleashed Above The Law Untouchable Abyssinians Best Of The Abyssinians Abyssinians Satta Adele 21. Adele 21. Admiral Bailey Punanny ADOR Let It All Hang Out African Brothers Hold Tight (colorido) Afrika Bambaataa Renegades Of Funk Afrika Bambaataa Planet Rock The Album Afrika Bambaataa Planet Rock The Album Agallah You Already Know Aggrolites Rugged Road (vinil colorido) Aggrolites Rugged Road (vinil colorido) Akon Konvicted Akrobatik The EP Akrobatik Absolute Value Al B. Sure Rescue Me Al Green Greatest Hits Al Johnson Back For More Alexander O´Neal Criticize Alicia Keys Fallin Remix Alicia Keys As I Am (vinil colorido) Alicia Keys A Woman´s Worth Alicia Myers You Get The Best From Me Aloe Blacc Good Things Aloe Blacc I Need A Dollar Alpha Blondy Cocody Rock Althea & Donna Uptown Top Ranking (vinil colorido) Alton Ellis Mad Mad Amy Winehouse Back To Black Amy Winehouse Back To Black Amy Winehouse Lioness : The Hidden Treasures Amy Winehouse Lioness : The Hidden Treasures Anita Baker Rapture Arthur Verocai Arthur Verocai Arthur Verocai Arthur Verocai Augustus Pablo King Tubby Meets Rockers Uptown Augustus Pablo In Fine Style Augustus Pablo This Is Augustus Pablo Augustus Pablo Dubbing With The Don Augustus Pablo Skanking Easy AZ Sugar Hill B.G.
    [Show full text]
  • Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Rap in the Context of African-American Cultural Memory Levern G
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to
    [Show full text]
  • 2018—12 December Program Guide
    The John Sinclair Foundation Presents RADIO FREE AMSTERDAM BLUES, JAZZ & REEFER—KEEPING THE MUSIC ALIVE Mondays The John Sinclair Radio Show plus Fly By Night with Steve The Fly Tuesdays The Blues Show with Bruce Pingree plus Blues From the Red Rooster Lounge with Cary Wolfson Wednesdays Blues & Roots with John Sinclair plus The Dr. Doo Wop Show with William Levy Thursdays Mood Indigo with Leslie Keros plus Beyond The Groove Yard with George Klein Fridays Sounds of Blue with Bob Putignano plus The Soul Lucille Show with Lucille DJ Saturdays Big City Blues Cruise with Martino D’Lorenzo plus Party Train with Linda Lexy Sundays Roots & Branches with Famous Coachman or The Black Pope plus Jazz Lunatique with David Kunian * Welcome to December and another month of distinctive programming from RadioFreeAmsterdam.org, our internet radio station dedicated to Blues, Jazz & Reefer, with a stellar lineup of classic blues radio shows by Bruce Pingree, Cary Wolfson, and John Sinclair; stellar jazz shows by Leslie Keros, whose Mood Indigo program completed its run of 252 episodes, and by George Klein, whose Beyond The Groove Yard show repeats his initial run of episodes for the month; awesome rhythm & blues and soul from Bill Levy, Bob Putignano, Lucille DJ, Tino Gross, and Linda Lexy; freeform shows by Steve The Fly, David Kunian, and our flagship program, The John Sinclair Radio Show, plus a series of programs from our Vintage Radio Vaults by the late great Detroit blues deejay Famous Coachman on WDET-FM and a special episode featuring the legendary Black Pope. Push the 24/7 button and listen to hour after hour on end of Radio Free Amsterdam programming—just like a real radio station.
    [Show full text]
  • 1 Title Page Needs Pasted, Roman Numeral I [Not Shown]
    “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Master of Arts by DEREK EVANS Dr. Tola Pearce, Thesis Supervisor DECEMBER 2007 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION Presented by Derek J. Evans A candidate for the degree of Master of Arts, And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Ibitola O. Pearce ________________________________________ Professor David L. Brunsma ________________________________________ Professor Cynthia Frisby …to Madilyn. ACKNOWLEDGEMENTS I wish to extend my unending gratitude to Dr. Tola Pearce for her support, guidance and, most of all, her patience. Many thanks to Dr. David Brunsma for providing me with fresh perspectives and for showing great enthusiasm about my project. I would like to thank Dr. Cynthia Frisby for helping me recognize gaps in my research and for being there during crunch-time. I would also like to thank my fellow sociology graduate students and colleagues for letting me bounce ideas off of them, for giving me new ideas and insights, and for pushing me to finish. Lastly, I would like to thank my wife Samantha for sticking by my side through it all. You are my rock. Shouts to Ice
    [Show full text]
  • Young African Nova Scotian Women Respond to Sexual Politics in Hip Hop Culture & Everyday Life
    Whose Revolution Is Televised?: Young African Nova Scotian Women Respond To Sexual Politics in Hip Hop Culture & Everyday Life by Alecia Green Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Joint Women’s Studies Programme at Saint Mary’s University Mount Saint Vincent University Halifax, NS January 2007 ©Copyrightby Alecia Green, 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-29009-5 Our file Notre reference ISBN: 978-0-494-29009-5 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis.
    [Show full text]
  • Gendered (Re)Visions
    Representations & Reflections Studies in Anglophone Literatures and Cultures Volume 4 Edited by Uwe Baumann, Marion Gymnich and Barbara Schmidt-Haberkamp Marion Gymnich / Kathrin Ruhl / Klaus Scheunemann (eds.) Gendered (Re)Visions Constructions of Gender in Audiovisual Media In cooperation with Stefanie Hoth V&R unipress Bonn University Press Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-3-89971-662-7 Publications of Bonn University Press are published by V&R unipress GmbH. Copyright 2010 by V&R unipress GmbH, D-37079 Goettingen All rights reserved, including those of translation into foreign languages. No part of this work may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, microfilm and recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover image: “film strip youth”, Kirsty Pargeter, Fotolia.de Printed in Germany 1 Contents 2 3 4 5 6 7 8 9 10 11 12 Marion Gymnich 13 Gender in Audiovisual Media: Introduction . ...... 7 14 15 Part I: Gaze – Body – Voice 16 Marion Gymnich and Kathrin Ruhl 17 Revisiting the Classical Romance: Pride and Prejudice, Bridget Jones’s 18 Diary and Bride and Prejudice ........................ 23 19 20 Verena-Susanna Nungesser 21 Ways of Reclaiming Masculinity: Reactions to the ‘Crisis of the White 22 Man’ in Paul Thomas Anderson’s Magnolia, Sam Mendes’ American 23 Beauty and David Fincher’s Fight Club ................... 45 24 25 Martin Butler 26 Re-Imagined Bodies and Transgendered Space: Sites for Negotiating 27 Gender in the Shrek Movies .
    [Show full text]
  • Summer Fairs Hit the Streets Safer Sailing
    News 32 Travel 20 Calendar The Budget: Part two of Weekend Traveler: The scenic drive to June Events: June in Supervisor Mark Farrell’s Mendocino can be as breathtaking as San Francisco is the time look at the city budget 6 being there, but once in its environs, you’ll for street parties, open-air Food & Wine find relaxing and beautiful hotels, winer- concert season kicking into ies, shops, parks, and the oldest Chinese high gear, and so much Fab Five: Dishes for 20 Dad’s Day 16 temple in California. 32 more fun in the sun WWW.MARINATIMES.COM CELEBRATING OUR 27TH YEAR VOLUME 29 ISSUE 6 JUNE 2013 SFMTA pushes for revised Polk Street renovation by john zipperer ollowing an at-times contentious round of back-and-forth with community groups regarding a planned remake of Polk Street’s traffic and parking design, the San Francisco FMunicipal Transportation Agency (SFMTA) has issued revised proposals for the redo of the busy street and is looking forward to an early fall demonstration project. “The thing we had to work hardest on Polk Street was to meet [the] need for everyone to be heard and to be valued,” said Seleta Reynolds, who leads the SFMTA’s policy analysis and Last year’s North Beach Festival filled the streets with people PHOTO: STEVE RESTIVO EVENTS innovation team, whose work includes the Polk Street project. “I feel that is what we missed at the beginning of the work.” In late April, SFMTA presented updated plans at two well-attended open houses. SFMTA’s plans included a num- Summer fairs hit the streets ber of options for upper/middle Polk Street and (separately) for lower Polk.
    [Show full text]
  • Mediamonkey Filelist
    MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Luke I Wanna Rock 4:23 Luke - Greatest Hits 8 1996 Rap 128 Disk Local 2 Angie Stone No More Rain (In this Cloud) 4:42 Black Diamond 1999 Soul 3 128 Disk Local 3 Keith Sweat Merry Go Round 5:17 I'll Give All My Love to You 4 1990 RnB 128 Disk Local 4 D'Angelo Brown Sugar (Live) 10:42 Brown Sugar 1 1995 Soul 128 Disk Grand Verbalizer, What Time Is Local 5 X Clan 4:45 To the East Blackwards 2 1990 Rap 128 It? Disk Local 6 Gerald Levert Answering Service 5:25 Groove on 5 1994 RnB 128 Disk Eddie Local 7 Intimate Friends 5:54 Vintage 78 13 1998 Soul 4 128 Kendricks Disk Houston Local 8 Talk of the Town 6:58 Jazz for a Rainy Afternoon 6 1998 Jazz 3 128 Person Disk Local 9 Ice Cube X-Bitches 4:58 War & Peace, Vol.1 15 1998 Rap 128 Disk Just Because God Said It (Part Local 10 LaShun Pace 9:37 Just Because God Said It 2 1998 Gospel 128 I) Disk Local 11 Mary J Blige Love No Limit (Remix) 3:43 What's The 411- Remix 9 1992 RnB 3 128 Disk Canton Living the Dream: Live in Local 12 I M 5:23 1997 Gospel 128 Spirituals Wash Disk Whitehead Local 13 Just A Touch Of Love 5:12 Serious 7 1994 Soul 3 128 Bros Disk Local 14 Mary J Blige Reminisce 5:24 What's the 411 2 1992 RnB 128 Disk Local 15 Tony Toni Tone I Couldn't Keep It To Myself 5:10 Sons of Soul 8 1993 Soul 128 Disk Local 16 Xscape Can't Hang 3:45 Off the Hook 4 1995 RnB 3 128 Disk C&C Music Things That Make You Go Local 17 5:21 Unknown 3 1990 Rap 128 Factory Hmmm Disk Local 18 Total Sittin' At Home (Remix)
    [Show full text]
  • Name of Show
    Press Contact: Seth Hyman Phone: 646-336-3683; E-mail: [email protected] *High-res images, show footage, and interviews available upon request. Rachael vs. Guy: Celebrity Cook-Off Contestant Biographies AARON CARTER Aaron Carter began his music career at age seven, singing lead for the band Dead End. Two years later he made his first solo appearance when he was nine, opening for the Backstreet Boys at their concert in Berlin, Germany, in March 1997. The performance was followed by a record contract and, in the fall of 1997, Aaron Carter released his first hit single, "Crush On You". His first full-length album “Aaron Carter” (December 1997) achieved gold status worldwide including countries Norway, Spain, Denmark, Canada and Germany. On May 18, 1998, Carter released the EP “Let The Music Heal Your Soul”, a fund-raising project that featured vocals by Carter, *NSYNC, Backstreet Boys, and The Moffatts amongst others. Now signed to JIVE Records, Aaron’s sophomore album, “Aaron's Party”, was released in the United States on September 26, 2000, and achieved triple-platinum status/certification. All of this before he was a teenager. Aaron has won multiple awards over his 14 year career including TEEN Choice Awards, Kids Choice Awards, and RTL Young Artist of the Year Award. In addition to music he has also established himself as an Actor in Film, Television and on Broadway. On August 17, 2009 the American Broadcasting Company (ABC) announced that Carter would be joining the cast for season 9 of their primetime reality series, “Dancing With The Stars”.
    [Show full text]
  • TCV 160809 Broad Layout 1
    Blue Angels East Bay announce Larry O Car 2017 Show Regional Officers Parks Page 11 Insert in Page 14 this issue Scan for our FREE App or Search App Store for TCVnews 510-494-1999 [email protected] www.tricityvoice.com August 9, 2016 Vol. 15 No. 32 Cajun/Zydeco Festival turns 20 BY ROBBIE FINLEY PHOTOS COURTESY OF EAST BAY REGIONAL PARK DISTRICT Though summer is winding down, there’s still at least one more chance for some fun under the sun as the East Bay Regional Park District (EBRPD) once again brings Cajun culture and Zydeco music to Fremont’s Ardenwood Historic Farm for the 20th annual “Cajun/Zydeco Festival” on Saturday, August 13. Festival attendees will be able to enjoy delicious food, exuberant Zydeco and Cajun music, as well as all the regular activities that Ardenwood has to offer. This year, Tom Rigney & Flambeau, Acadien Cajun Band, and Andre Thierry are scheduled to rock the continued on page 32 BY DAVID R. NEWMAN PHOTOS COURTESY OF CARMEN MINCH SUBMITTED BY LARRY GISSIBLE Obon, also referred to as Kangi-e, is a In Fremont, the Don Edwards San Francisco Bay National Wildlife Refuge is home to millions of migratory birds and endangered species throughout the year. But on PHOTOS BY BEN ELIAS “joyous gathering with dharma dance.” Colorful kimono-clad participants Saturday, August 20, our fowl friends will be joined by groups of non-flying creatures armed with GPS units, scampering across the marshlands as they compete in the next Southern Alameda County Buddhist gather for the Obon dance, a dance of “Amazing Refuge Race.” Church (SACBC) invites all community joy, which marks a memorial day for our Now in its 8th year, the Amazing Refuge Race was the brainchild of Carmen Minch, members to come and enjoy the annual departed beloved ones and a day to give Outdoor Recreation Planner for the wildlife refuge.
    [Show full text]