A Sheffield Hallam University Thesis

Total Page:16

File Type:pdf, Size:1020Kb

A Sheffield Hallam University Thesis Novel: No More Yellow. YEARWOOD, Susan J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20588/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20588/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Ha Ham University] Learning and IT Services j Adsetts Centre City Campus jj Sheffield SI 1WB ‘ REFERENCE ProQuest Number: 10701235 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10701235 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Novel: No More Yellow Susan Jenifer Yearwood A novel submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of Philosophy October 2005 Chapter One All the words of my mouth are in righteousness; there is nothing froward or perverse in them. (Prov. 8:8) I don’t think about it anymore - that summer. Too many things came to pass that made me what I am today - and that’s not saying much. When I say that I mean that I don’t add up to much these days despite what I had dreamed for myself - me and Frankie against the world. Frankie was my imaginary friend (I hate to even think about it now) that I conjured up at nights. When I say that she was my friend I use the term loosely as she had started to became a bitch to me that summer, asking things of me that even I balked at. Like telling me to have sex with the next man that offered, even if it was the funny Asian man who walked down the street noisily jangling his keys. Me and Baljit called him the finny-finny-hand-man after he invited us into his house one day and we ran away from him, the vision of his spotless kitchen through the front doorway staying with me. I’ll go in next time, I thought to myself, or rather Frankie thought through me. I’ll see what he has to offer. That’s one of the things I remember about that summer without Baljit, the loss of what I came to decide were childish things. It reminded me of the time we had gone to the finny-finny-hand-man’s house the Christmas before to sing carols and he had answered the door with a wide belt in his hands. Whatever threat we posed wasn’t clear, me with a battered carol book in my hands and Baljit sporting a bobbly, worn woollen hat over her waist length hair and sucking on cola cubes. I imagined that he saw more than one black girl pressing his doorbell through the obscured glass of his front door and a legion of long-haired Sikh girls. He flew out of the open door and screamed out, only to be confronted by two cowering children. I’ll never forget the look on his face when his senses returned and he stared at us in bewilderment. My momentary terror faded as I watched vulnerability creep into his face, to be quickly replaced by fear and loathing. After that we played Knock Down Ginger like the girls that we were then, but that all ended that summer when I decided to take Frankie at her word and become someone else. I didn’t think about it at the time as such, but I had just found out some devastating news and Frankie was fighting with me to reveal it to someone - anyone. The news was that my grandfather Stanley was not really my grandfather. He was my father. I had been lied to all these years. That wasn’t the only overwhelming fact. My Mother was supposed to be his daughter but was in fact the daughter of a drifter who had come into Grandma (literally) by chance on a dismal day in St. George - Millicent had written as much. That was a lot for a young girl like me to take on, too much perhaps, but I didn’t think like that at the time. Just felt hurt at Mum going away and not taking me with her, especially as Baljit was taken to the Gujurat that summer without even a word to me. The whole family, except for Dev, gone for six weeks. Without a word to me. I hadn’t been outside the country, only to Wales, but had heard of kids from school that had. I bet their mothers wouldn’t have even thought of leaving them at home. I thought about my Mother’s excuse a lot that summer - she couldn’t afford the both of us going; I would be bored; next time - and felt the tyranny of being a child under an adult’s care. I wished 2 myself older more than anything and Frankie encouraged me in her sly, underhand way. I like being sly and underhand though I’m not too good at it. Not in the way that Frankie is. I chose the name because of its hidden ambiguity, as Miss Scott, my English teacher would call it. Frankie. It was cute to me, even cool. Better than my name - Ella. Better than anything I represented. It was just so easy for everyone to walk all over me when I was me but when I was lying in my bed in Frankie-mode nothing could touch me. Just look at what Mum had done to me. That wouldn’t have happened if I were truly Frankie, body and soul. So I thought then, but they were childish thoughts, fit for nothing but the childish adult I was to become. Never quite grown yet, never quite coping. That summer was the start of all my downfalls. Grandma’s leaving was just yet another thing to contend with and the fact that I lost my grey pencil skirt to the new owners of the house on the Avenue, to be replaced by a blue mini skirt that showed off my black-kneed, skinny legs. At least by then I had grown out of the baby thing as that had started to get embarrassing, especially after the beating Mum gave me the last time it happened - wanting a baby was too much of a burden for any fourteen year old to bear. I slept in a dead man’s bed. Before she left for the island my Mum warned me that the mattress wheezed and told me it was the dead man coughing under my weight. I slept uneasily sometimes, thinking Frankie thoughts more and more. I pulled the mauve bed blankets over my head and slipped lower into the covers just in case he pulled his rough head from under the bed and asked me my name. Silly, I suppose, and considering I had begun to think of myself as a woman it all smacked of me being childish, not quite there yet. I didn’t suppose my Mum would be scared of the man if she was 3 sleeping in this bed, if her shoulders had to nuzzle into springs instead of foam. I didn’t suppose she would sleep anyway, as all she seems to do is listen to music into the small hours, old tape cassettes whirring into daybreak - Do you really wanna know about hard times.I didn’t at the time. The bed I slept in was in one of the spare rooms at my Grandma Lillian’s house. I was staying while my Mum was away. She is four and I am two - that’s what she used to say whenever I called her “she”. Not the usual “She’s the cat’s mother” but something else to put me in my place, to steady me. I hadn’t heard her say that to me for a while and even if she did say it I wouldn’t listen. I hadn’t even finished secondary school but I was still a woman. Didn’t she say that I was? So she can’t stop me. No one could stop me. Doing what? I didn’t yet know. I listened to myself closely at those times. This was new to me, this listening, because before I came to this realisation, I didn’t know that there was anything to listen to. It seemed that the moment I stopped sucking on Blackjacks to harass the liquorice into making my tongue black, and by the time I hesitated in the dance that told me not to step on cracks in the pavement for good luck, that I had to listen for what was to come next. The past was all that was left of a missed opportunity, something unsung and dead in me.
Recommended publications
  • Debate Overnight Radio Play for Sale to Labels
    $6.99 (U.S.), S8.99 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) w Hot.' á 3 -DIGIT 908 z ILI..i6..J..IiIII...L..LoIEIO I IIL.I[I BL240f04 APR06 A04 B0105 ¡aient MONTY GREENLY 3740 ELM AVE # A LONG EEACH CA 93807 -3402 J31i1 Begins On Page 15 www.billboard.com THE INTERN TIONAL AUTHORITY ON MUSIC, VIDE AND DIGITAL ENTERTAINMENT 110TH YEAR JUNE 19, 2004 HOT SPOTS Spin Buys Spark New Debate Overnight Radio Play For Sale To Labels Latin S BY BRIAN GARRITY 11 Bank On Lt ar Anthony 50 Cent protégé Lloyd Banks Offers ans His First Controversy surrounding burns up the charts with "On overnight airplay at radio is Fire, "the lead single from his Spanis Pop Album nothing new for the G- Unit /Interscope solo set. recording industry. But the BY LEILA COB' current flap over tracks played late at night in label -sponsored fí It is tim of c-ìange for Marc "spin programs" presents a new Anthony. twist on past grievances. Just a few years ago, labels were Last year h: changed management complaining bitterly that radio by signing wi Tommy Mottola after programmers were relegating l6 a longstandi g association with new singles to the overnight Bigram Zayas Anthony's brother. hours. Now many labels are Last -nont , he changed his tour shelling out thousands of dollars dates. Origin Hy slated to kick off in per week to have songs played between midnight and 6 a.m. June, the o ing has been resched- 32 Waylon Gains As first tipped on billboard.biz uled for Nov: mbeG Waylon Payne promotes his and in Billboard sister publica- Last week, e reportedly married Jen- tion Airplay Monitor's June 11 upcoming album, "The Drifter," nifer Lopez.
    [Show full text]
  • No Guidance Lyrics
    No Guidance Lyrics Before I die I'm tryna f_ck you, baby Hopefully we don't have no babies I don't even wanna go back home Hopefully, I don't leave you on your own Ayy Trips that you plan for the next whole week Bands too long for a nigga so cheap And your flex OD, and your s_x OD You got it, girl, you got it (Ayy) You got it, girl, you got (yeah) Pretty lil' thing, you got a bag and now you wilding You just took it off the lot, no mileage Way they hittin' you, the DM lookin' violent Talkin' wild, you come around and now they silent Flew the coop at seventeen, no guidance You be staying low but you know what the vibes is Ain't never got you nowhere being modest Poppin' shit but only 'cause you know you're popping You got it, girl, you got it (Ayy) You got it, girl, you got it Lil' baby in her bag, in her Birkin No nine to five put the work in Flaws and all, I love 'em all, to me, you're perfect Baby girl, you got it, girl, you got it, girl You got it, girl, you got it, girl (Ooh) I don't wanna play no games, play no games F_ck around, give you my last name Know you tired of the same damn thing That's okay 'cause, baby, you You got it, girl, you got it (Ayy) You got it, girl, you got it You the only one I'm tryna make love to, Picking and choosing They ain't really love you, runnin' games, usin' All your stupid exes, they gon' call again Tell 'em that a real nigga steppin' in Don't let them niggas try you, test your patience Tell 'em that it's over, ain't no debating All you need is me playin' on your playlist You ain't gotta be frustrated
    [Show full text]
  • Voicebox Songbook by Title - Japanese
    Voicebox Songbook by Title - Japanese くるみ 22才の別れ MR CHILDREN 18980 風 18721 "HERE WE GO"~SUPPORTER MIX~ 22歳 名古屋グランパスエイト (サポーターズ 16527 谷村新司 15043 ソング) 2つの願い "S"ENSATIONAL WIND 槇原敬之 16637 Ribbon 18536 2人のANOTHER TWILIGHT "T" INTERSECTION ~あなたに戻れない~ Complex 14857 やまだかつてないWink 13266 2億4千万の瞳 (JUST LIKE) STARTING OVER 郷ひろみ 13564 John Lenon 14913 33才 1/2の神話 西城秀樹 13574 中森明菜 13183 3号線を左に折れ 10 YEARS 風 18623 渡辺美里 18609 3年目の浮気 10 YEARS AFTER ヒロシ 15343 Tm Network 17393 3線号を左に折れ 1000の言叶 風 13585 幸田来未 18855 45歳の地図~COME BACK 青春! 100%・・・SOかもね! 爆風スランプ 13214 シブがき隊 16290 45歳の地図~COME BACK青春~ 10YEARS Bakufu-Slump 18549 渡辺美里 13489 484のブルース 12月のエイプリル・フール 木立じゅん 15824 Epo 14614 4月の雨 12番街のキャロル Dreams Come True 16453 佐藤隆 14647 50/50 (フィフティー・フィフティ) 13月の雨~せめて雨が止むまで~ 中山美穂 18729 ナフナ 16821 50/50(フィフティ・フィフティ) 15の夜 中山美穂 13875 尾崎豊 14975 500 MILES 15の好奇心 The Brothers Four 18669 ハウンド・ドック 13208 500 MILES(英語版) 16(SIXTEEN) BEAT The Brothers Four 13790 杏 里 13840 59304 17才 川野夏美 18449 森高千里 14595 5年目の破局 19 GROWING UP-ODE TO MY BUDDY- ヒロシ 14249 プリンセス・プリンセス 18512 6番目のユ・ウ・ウ・ツ 1986年のマリリン 沢田研二 14668 本田美奈子 13678 7 1990 工藤静香 17175 Complex 12956 7 COLORS (OVER THE RAINBOW) 1990年(韓国語詞・日本語詞入り) Personz 13263 吉屋潤 16110 70年代 1992年、夏 中村雅俊 18718 小泉今日子 14784 7TRUTHS 7LIES~ヴァージンロートの彼方で~ 1994-LABEL OF COMPLEX- 松任谷由実 17918 Boowy 14777 ? 唄 19:00の街 森昌子 14959 野口五郎 15054 ?・・・カモメ 19のままさ 門倉有希 16569 浜田省吾 13524 A DAY 19番のタンゴ 矢沢永吉 13919 J.A.M. Cream 14315 A DO RO(英語版) 1ダースの言い訳 Graciela Susana 14938 稲垣潤一 13286 A HARD DAY'S NIGHT(ビートルズがやって来る ヤァ!ヤァ! 2000年音頭 ヤァ!) 北島三郎 17565 The Beatles 18653 200倍の夢 A HARD DAY'S NIGHT(英語版) let It Go 17061 The Beatles 13774 20TH PARTY A SONG IS BORN 松田聖子 17637 浜崎あゆみ 18084 20歳のめぐり逢い A.C.E.
    [Show full text]
  • The Big Urban Game, Re-Play and Full City Tags Art Game Conceptions in Activism and Performance
    The big urban game, re-play and full city tags Art game conceptions in activism and performance MARGARETE JAHRMANN The practice of technological tagging of locations in contemporary urban spaces can be seen in relation to the concept of the ‘Re-Play’ of urban space and urban life using performance practices. The performance of technological play with mobile technologies in everyday life serves as the starting point for a new inter- pretation of modern cities as a positive utopia. Re-Play is introduced in this pa- per as an idea of staging knowledge. In my approach to performance, I consider play a method to identify topographies of cultural or historic interest in urban spaces and to frame potential inter-action on such sites. Play consequently ena- bles the extraction of new stories and new knowledge concerning narratives of the urban. The idea of Re-Play draws on the Situationist principle developed in the 1960s (Constant 1972), of a playful and open society living in a ‘New Baby- lon’ that offers zones of play and relaxation as a basis for creativity and a self- determined life – in relation to and through the constructivist use of technolo- gies. Contemporary activist play and performative urban games have to deal with a specific precondition: the electronic, electromagnetic and logic topography of the modern city, which is marked through ‘tags’. Tagging can be understood in two ways, first as an expression of an urban sub-culture of graffiti arts and sec- ondly as a technological term to indicate a virtual-reality marker in physical space.
    [Show full text]
  • TOURNAMENT RULES Inclement Weather Policy SJ Warriors Contact Numbers Are Listed at the End of the Rules
    SJ Warriors TOURNAMENT RULES Inclement Weather Policy SJ Warriors contact numbers are listed at the end of the rules. In the event of rain, we will do everything within our power to make up games and stay as close to the original game schedule as possible. However, there may be circumstances in which we will need to deviate from the printed schedule. When this occurs, we will use the following procedures as a guide: Our first priority will always be the safety of each individual at the facility. If inclement weather forces a cancellation of game slots during pool play rounds, we may have to alter the brackets to complete the tournament. If a pool play game cannot be played, the team with the higher seed will advance. SJ WARRIORS will not name a champion of the tournament without a championship game. If rain comes into play, we will do everything we can do to stay close to the original game schedule. • Play No Games - $100 administrative cost is non-refundable. • Play 1 Game - Receive a 50% refund. • Play More Than 1 Game – No refund. Note: Once a game starts it will count as a game played, regardless of its length. Suspended Games Games that do not make it to regulation (3 complete innings for a 6 inning game or 4 complete innings for a 7 inning game) due to weather / darkness will be considered a suspended game and will be resumed (if possible) from the point of suspension at the earliest time available. If there is not enough time to resume the game, it will be considered a complete game at the end of the last complete inning and the team that is winning at that point will be the winner.
    [Show full text]
  • Earthlings, Meet Venus” Informational Text and Questions
    CCSS.ELA-LITERACY.RI.7.2 ​ Determine two or more central ideas in a text and analyze their development over the course of the text CCSS.ELA-LITERACY.RI.7.3 Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas influence individuals or events, or how individuals influence ideas or events). CCSS.ELA-LITERACY.RI.7.6 Determine an author's point of view or purpose in a text and analyze how the author distinguishes his or her position from that of others. “Earthlings, Meet Venus” Informational Text and Questions Due: Friday, May 29th Directions: Read the informational text “Earthlings, Meet Venus”, and answer the questions that follow. EARTHLINGS, MEET VENUS 7th GradeLexile: 1100 by Rachel Slivnick 2018 ​ ​ In this informational text, Rachel Slivnick describes one of the planets in our Solar System, Venus. As you read, take notes on Venus’ environment. "Size comparison of Venus and Earth. Approximate scale is 29 km/px." by NASA is in the public domain. ​ [1] What are your neighbors like? Chances are you have some friendly neighbors, some quiet neighbors, and some people who live on your block that are downright weird and maybe even a little CCSS.ELA-LITERACY.RI.7.2 ​ Determine two or more central ideas in a text and analyze their development over the course of the text CCSS.ELA-LITERACY.RI.7.3 Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas influence individuals or events, or how individuals influence ideas or events). CCSS.ELA-LITERACY.RI.7.6 Determine an author's point of view or purpose in a text and analyze how the author distinguishes his or her position from that of others.
    [Show full text]
  • Università Ca' Foscari Venezia Dottorato Di Ricerca
    Università Ca’ Foscari Venezia Dottorato di ricerca in Lingue, Culture e Società, 22° ciclo (A. A. 2006/2007 – A.A. 2008/2009) Jamaican Culture through Jamaican Cinema SETTORE SCIENTIFICO-DISCIPLINARE DI AFFERENZA*: L-ART/06 Cinema, Fotografia e Televisione Tesi di dottorato di Sabrina Ceccato , n° matricola 955336 Coordinatore del dottorato Tutore del dottorando prof. Rosella Mamoli Zorzi prof. Armando Pajalich * Nel caso di più settori disciplinari interessati, deve essere indicato quello prevalente nella trattazione della tesi. CONTENTS. Introduction: Cinema in Jamaica. p.1 1. Jamaican as the ideal location for foreign productions. p.1 2. The many problems of local productions. p.5 3. What is a Jamaican film? p.7 4. Jamaican films. p.10 5. Jamaican films in their context. p.18 6. A Jamaican tradition. p.20 1. Jamaican Films’ Themes and Characteristics. p.21 2. “Dis A Jamieka”: Language in Jamaican Films. p.30 2.1 Jamaican language: from English to Patwa. p.30 2.2 Implications in the use of Jamaican. p.34 2.3 Jamaican in films. p.37 2.3.1 Subtitles. p.42 2.3.2 Rasta talk. p.44 2.4 Conclusions: Every language has a meaning. p.50 3. “Play I Some Music. Dis A Reaggae Music”: Jamaican Music in Jamaican Films. p.53 3.1 Music in films. p.54 3.2 The Harder They Come. p.56 3.3 Singers acting. p.65 3.4 Music as part of the plot. p.68 3.5 Soundtrack as an integral part of the film. p.70 3.5.1 Rockers.
    [Show full text]
  • N:° Billboard HITS of the WORLD.. Ac.- JAPAN UNITED KINGDOM FRANCE GERMANY
    _n:° Billboard HITS OF THE WORLD.. Ac.- JAPAN UNITED KINGDOM FRANCE GERMANY 3 3 g 3 ! 3 (DEMPA PUBLICATIONSINC.)0á/12A14 3 g (THE OFFICIAL UK CHARTS CO.106/07/04 g ISNEP /IFOP,7ITE- LIVE)0608 /04 3 (MEDIA CONTROLI06,'09/04 SINGLES SINGLES SINGLES SINGLES 1 NEW DAREKANO NEGAIGA KANAUKORO I I DON'T WANNA KNOW 1 1 DRAGOSTEA DIN TEI 1 1 DRAGOSTEA DIN TEI HIKARU UTADA TOSHIBA/EMI MARIO WINANS FT ENYA 8 P DIDDY BAD BOY/UNIVERSAL 0 -ZONE MEDIA SERVICES/TIME 0 -ZONE MEDIA SERVICES/TIME 2 2 HITOMI O TOJITE 2 1 F.U.R.B (F U RIGHT BACK) _ 57 LE POULAILLER 2 2 F * *K IT (I DON'T WANT YOU BACK) KEN HIRAI DEFSTAR FRANKEE ALL AROUND THE WORLD LE 6-9 ULM EAMON JIV 3 KABAN 3 NEW INSANIA 2- 50 FEMME LIKE U 3 4 DRAGOSTEA DIN TEI AIKO PONY CANYON PETER ANDRE EAST WEST K -MARS EAST WEST HAIDUCII UNIVERSO 4 AYA AJA 4 2 TRICK ME a NEW GARDE -MOI 1 3 I DON'T WANNA KNOW SOUTHERN ALL STARS VICTOR KELIS VIRGIN STEEVE ESTATOF RCA/ARISTA MARIO WINANS FT ENVA & P. DIDDY BAD BOY/UNIVERSAL 5 SOUND OF MUSIC 3 3 F * *K IT (I DON'T WANT YOU BACK) _ 2 SOBRI NOTRE DESTIN 5 5 EVERYTIME TAMIS OKUDA SONY MUSIC EAMON JIVE LESLIE M6 INT. BRITNEY SPEARS JIVE 6 NAMIDA 3 4 HOTEL = 4 F * *K IT (I DON'T WANT YOU BACK) 5 6 NEMO KETSUMEISHI TOY'S FACTORY CASSIDY FT.
    [Show full text]
  • "Oracles": 2014
    Oracles Previous postings from the Wm. Thomas Sherman Info Page 2014. By Wm. Thomas Sherman 1604 NW 70th St. Seattle, WA 98117 206-784-1132 [email protected] http://www.gunjones.com ~~~~~~*~~~~~~ TENETS *If we ever experienced a problem anywhere, it came about, in some degree, due to certain wrong assumptions, either co-present with, or just prior to the given problem’s actually taking place. * Unless you believe in God, the One, and or the infinite, every assumption is contingent. * PROCESS (or if you prefer spirit, or activity) PRECEDES IMAGE. Image may, to some extent, (and sometimes almost perfectly) represent process. But process is always superior to and always more real than image. If process precedes image this might suggest also that mind precedes matter and energy. * Everything we believe, or say we know, is based on a factual or value judgment. Both kinds of judgment always entail the other to some extent, and nothing can be known or exists for us without them. * No fact or purported fact is true or false without someone to assert and believe it to be such. If an assertion or claim is deemed true or false then, and we are thorough, we should ask who is it that says so (or has said so), and what criteria are (were) they using? There is no such thing as “faceless” truth or reality -- at least none we are capable of knowing. * You can’t escape reason. If you aren’t rational yourself, someone else will be rational for you; nor do their intentions toward you need to be friendly or benevolent.
    [Show full text]
  • Danger Ahead
    DANGER AHEAD FOR THE SOCIALIST PARTY IN PL.4YING THE GAME OF POLITICS 7 3 EUGEN& DEBS AND CHARLES EDWARD RUSSELL Price, 5 cents; 10 for 20 cents; $1.00 a hundred; $7.00 a thousand CHICAGO 7RARLES H. KERR & CXMPASY 118 West Kinzie Street FOREWORD. Th.e two articles herein republished first appeared in the International Socialist Re- view, the former in January and the latter in September, 1911. Both of them causd wide comment, both favorable and unfavor. abie. The Socialist movement develops itsi revolutionary character and clarifies it purposes by constant self-criticism. An, democratic organization can be properly regulated only by the frankest and freest dis-;lssion of its problems on the part of its membership. The contents of this book- let have a peculiar value for the SociaIist movement of America just at present. They demonstrate and emphasize the utter impotency of compromise. The labor par- ties of England and Australasia have proven themselves miserable failures. The revolutionary message which Marx ana Engels stated as a scientific principle, Debs and Russell herein deliver from the actual field of the class struggle. DANGER AHEAD. BT ECTGESE V. DEBS. The large increase in the Socialist vote in the late national and state elections is quite naturally hailed with elation and re- joicing by party members, but I feel prompted to remark, in the light of some personal observations during the campaign, that it is not entirely a matter of jubilation. I am not given to pessimism, or captious criticism, and yet I cannot but feel that some of the votes placed to our credit this year were obtained by methods not consis- tent with the principles of a revolutionary party, and in the long run will do more harm :han good.
    [Show full text]
  • The Only Black Man at the Party Joni Mitchell Enters the Rock Canon
    1/30/2015 Genders OnLine Journal - Presenting innovative theories in art, literature, history, music, TV and film. Issue 56, Fall 2012 The Only Black Man at the Party Joni Mitchell Enters the Rock Canon By MILES PARKS GRIER [1] On Halloween of 1976, a week before her thirty­third birthday, singer­songwriter Joni Mitchell strutted into a Los Angeles party in dark pancake makeup and a pimp’s suit and passed for a black man. For the next six years, Mitchell appeared intermittently in this character, whom she named Art Nouveau. On the cover of the December 1977 double­album Don Juan’s Reckless Daughter (DJRD), Art strides confidently into the foreground while the blonde singer frolics behind him. Clever editing of the 1980 concert film Shadows and Light puts Art in Mitchell’s place to close the last verse of “Furry Sings the Blues”—an ironic choice as the lyric portrays the singer as a contemporary white star on a pilgrimage several decades too late to witness black Memphis’s giving birth to the blues. Art’s final appearance in 1982 was in a short film called “The Black Cat in the Black Mouse Socks” in which Mitchell’s character, Paula, attends a costume party in the guise of a black man and meets a former lover there. In “Black Cat,” Art supplemented his makeup and pimp suit with a final accessory: a portable casette player pumping out selections of Miles Davis’s music. “Black Cat” was Mitchell’s contribution to Love, an unreleased Canadian anthology of female­authored films—and Art Nouveau’s unheralded exit from public view.
    [Show full text]
  • Lee Perry Lost Treasures of the Ark Vol
    $5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) iW en w 1 z IITITTILTTLTLILTTITEEITTILTITJII I IItTTII 908 #BXNCCVR 3-DIGIT #90807GEE374EM002# BLBD 715 A06 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 90807 -3402 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT JANUARY 8, 2000 GOOD WORKS IN MUSIC NEWS The Retailers Make Merry 1- Jailers, Mass Merchants, Others See Gains Latin Jazz BY DON JEFFREY ed mall chains Musicland Stores and and ED CHRISTMAN Trans World Entertainment would NEW YORK -E- commerce, the not disclose sales figures for the hol- recording mass merchants, and free -standing iday period, reports from other music stores were whistling a happy sources indicate that these retailers' tune after Christmas, while the mall same -store sales (from units open at that's chains had less to least a year) were be cheerful about. flat for the period, winning Exhibit Examines It was a mixed which began 3rd Single Shows holiday season for NATIONAL RECORD MART 111111ER Thanksgiving U.S. music retail- AECOAUS- VIIIEUCMS week. Guthrie legacy ers, according to I According to Lopez Has legs everyone's reports from SoundScan, album BY CHRIS MORRIS chains, independents, and label sales for the five -week period that BY LARRY FLICK LOS ANGELES -Woody sources. By all reports, E- merchants ended Dec. 26 totaled 140 million NEW YORK -In the six heart! Guthrie will come home to New enjoyed another season of astounding units, up 3.1% from the 135.8 million months since issuing her York on Feb.
    [Show full text]