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Crayon has been recruited by a brutal pimp named Phenomenal.She is 15 years old.Her grandmother knows only person who can save her.That individual is her late daughter Maggys ex-boyfriend, Firstborn. Firstborn has been a year removed from his role as a crack dealer in the bloody streets of East Oakland.He lives a square life in a city where his past remains unknown.Ms. Holmes locates him and pleads with him to come back to Oakland to rescue Crayon.However, the task is easier said than done.Phenomenal is pushing a hard line in the streets.He is a head buster; a drug dealing gun runner with a hand in several illegal enterprises. Firstborn knows of only one person crazy enough to step to Phenomenal.However, he has sworn never to talk to his former best friend Drama again.Can he free Crayon from a living death on the track?Will Firstborn be forced to reunite with the Black Christmas Mob?Will he be dragged down into the depths of hood life never to emerge again?
Reverend Harry "OG Rev." Williams from Oakland, California, is called to the streets: to the hungry, homeless, addicted, incarcerated, and vulnerable. Bringing us face-to-face with both the injustices that plague our cities and the gospel of compassion that offers hope to the downtrodden, this introduction to urban ministry will inspire and equip a new generation to bring the life-giving good news of Jesus to our cities.
Firstborn Walker is a book worm who dreams of attending one of America's most competitive universities. When his best friend is shot through the forehead with a hollow tip bullet, his desire to flee the mean streets only intensifies. Unemployed, he turns to the only person who can help him secure the money he'll need to supplement his scholarship, a childhood friend known as "Drama." Drama is a charismatic, ultra-violent block hog, an East Oakland crack dealer who makes his living with a triple beam scale and an Uzi submachine gun. So, Firstborn becomes a member of the Black Christmas Mob. Now the community college valedictorian must struggle to survive in a game laced with gold diggers, contract killers, hard hitters, marks, knocks, snitches and infiltrators; a world where witness tampering, blinding violence, safehouses, and a relentless cop named "the Hawk" become his new reality.
The sheer energy and passion and intensity, the linguistic virtuosity of Eric Miles Williamson's latest novel, WELCOME TO OAKLAND, will leave readers breathless. The vigor and uncensored redneck honesty of T-Bird Murphy's blue-collar voice will at turns delight, offend, amuse and enrage readers as T-Bird gives us what we're not supposed to hear: the groans, gritos and war-whoops of men when they're not behaving like gentlemen, when they're out of sight and earshot, when they're wrapped around their drinks at Dick's Restaurant and Cocktail Lounge or your local workingman's watering hole. In WELCOME TO OAKLAND, the T-Bird Murphy of Williamson's internationally acclaimed novel, East Bay Grease, is now a man. He's been divorced twice, and he finds himself hiding out in a garage in rural Missouri for a reason we're never told, confused and stunned, shell-shocked by the hand life has dealt him. He opens his story, "I'm always happiest when I live in a dump, and I've lived in some serious shitholes," but it's difficult to believe him. What unfolds is the story of a workingman who tries his hardest to escape the hell of the Oakland ghetto, who finds honor in squalor, kinship among the broken divorcees of Dick's Restaurant and Cocktail Lounge, dignity and beauty at the garbage dumps where he sleeps in the cab of the scow he drives for a living.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
List of members in v. 1- .
Kinethic California: Dancing Funk and Disco Era Kinships documents the emergence of new forms of black social and vernacular dance invented by youth living in 1970s California, who helped build the foundations of contemporary hip hop/streetdance culture. Naomi Macalalad Bragin weaves interviews and ethnographies of first-generation (1960s-70s) dancers of strutting, boogaloo, robotting, popping, locking, waacking, and punking styles, as it advances a theory of dance as kinetic kinship formation through a focus on techniques and practices of the dancers themselves. She offers that the term given to these collective movement practices is kinethic to bring attention to motion at the core of black aesthetics that generate dances as forms of kinship beyond blood relation. Kinethics reorient dancers toward kinetic kinship in ways that give continuity to black dance lineages under persistent conditions of disappearance and loss. As dancers engage kinethics, they reinvent gestural vocabularies that describe worlds they imagine into knowing-being. The stories in Kinethic California attend to the aesthetics of everyday movement, seen through the lens of young artists who, from childhood, listened to their family’s soul and funk records, observed the bent-leg strolls and rhythmic handshakes of people moving through their neighborhoods, and watched each other move at house parties, school gyms, and around-the-way social clubs. Their aesthetic sociality and geographic movement provided materials for collective study and creative play. Bragin attends to such multidirectional conversations between dancer, community, and tradition, by which California dance lineages emerge and take flight.
Rick and Jason were raised in the ghettos of Oakland, CaliforniaRick being born white with black blood and Jason with black skin and black blood. They were raised together as best friends, inseparable. When a life crisis destroyed the only two people they loved in life, Ricks mom and Jasons dad, they relied on the streets of the ghetto to continue to raise them. They became block monsters. They commanded a group of young, hyper, and deadly killers called the Hyphy Boys. They ordered a hit on an OG shot-caller and sparked a war in the streets of Oakland. Jason and Ricks fun, lavish lifestyle brought on other big responsibilities. Dealing with the loves of their lives complicated things even more. Rick was known to be the more responsible one of the two. He took a fall and ended up in jail, leaving all the responsibilities of their empire in Jasons controlthe irresponsible one. But the OG dude who was killed at their order by one of the Hyphy crewmembers had an uncle who loved him released from prison. And Ben-K wasnt going to let his nephews killer get away with murder. He vowed revenge in cold blood.