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"The officer had gotten out of his car with his weapon drawn. He was tapping on the driver's side window with the barrel. I opened the door to get out, as I was getting out, I was asking what the problem was. I didn't get the whole sentence out before . POW, right in my nose. My knees buckled, I was going down. While I was on the ground I heard him asking, "where's the dope nigger, I know you rich boys come back to the hood to supply your buddies with the goods. Where is it?" I looked up and said, "I don't sell or have any . BAM, he kicked me right smack in my stomach. I could smell the bile come out of my mouth as I threw up everywhere. I looked at the other officer, and he was standing there frozen, as if he was gonna get his ass whipped. I decided I was going to stand up. There was gonna be no Rodney King incidents. I stood up and faced him, he struck me again, this time I held my ground, I was not going down. I could see all the neighbors gathering on the sidewalks, I got even stronger. When the officer noticed the crowd, he left to get in his cruiser. His partner was still standing there frozen; he had to blow the horn for him to get in. When they left, I jumped in my car and sped away."
Identifying an apprehension about the nature and constitution of urbanism in North American plays, Westgate examines how cities like New York City and Los Angeles became focal points for identity politics and social justice at the end of the twentieth century, and how urban crises inform the dramaturgy of contemporary playwrights.
Identifying an apprehension about the nature and constitution of urbanism in North American plays, Westgate examines how cities like New York City and Los Angeles became focal points for identity politics and social justice at the end of the twentieth century, and how urban crises inform the dramaturgy of contemporary playwrights.
Allure Jones is back with more drama than ever! Three years have passed since her breakup with James. Allure is now working as a high school English teacher, buying her own home, raising Sierra, and dating the man of her dreams. Just when Allure thinks her life can't get any better, confusion sets in. James insinuates his way back into Allure's life, causing her to question whether she is completely over him. She has to be careful, though, because his wife is desperate to hold on to what's hers by any means necessary. If this isn't enough trouble, another ex continues to cause disorder in Allure's life. Just as things start to heat up between Allure and her new love, she finds herself being pulled back into her past. How much drama can one woman stand?
For the middle class and the affluent, local ties seem to matter less and less these days, but in the inner city, your life can be irrevocably shaped by what block you live on. Living the Drama takes a close look at three neighborhoods in Boston to analyze the many complex ways that the context of community shapes the daily lives and long-term prospects of inner-city boys. David J. Harding studied sixty adolescent boys growing up in two very poor areas and one working-class area. In the first two, violence and neighborhood identification are inextricably linked as rivalries divide the city into spaces safe, neutral, or dangerous. Consequently, Harding discovers, social relationships are determined by residential space. Older boys who can navigate the dangers of the streets serve as role models, and friendships between peers grow out of mutual protection. The impact of community goes beyond the realm of same-sex bonding, Harding reveals, affecting the boys’ experiences in school and with the opposite sex. A unique glimpse into the world of urban adolescent boys, Living the Drama paints a detailed, insightful portrait of life in the inner city.
Part of every legend is true. Or so argues Jody Enders in this fascinating look at early French drama and the way it compels us to consider where the stage ends and where real life begins. This ambitious and bracing study explores fourteen tales of the theater that are at turns dark and dangerous, sexy and scandalous, humorous and frightening—stories that are nurtured by the confusion between truth and fiction, and imitation and enactment, until it becomes impossible to tell whether life is imitating art, or art is imitating life. Was a convicted criminal executed on stage during a beheading scene? Was an unfortunate actor driven insane while playing a madman? Did a theatrical enactment of a crucifixion result in a real one? Did an androgynous young man seduce a priest when portraying a female saint? Enders answers these and other questions while presenting a treasure trove of tales that have long seemed true but are actually medieval urban legends. On topics ranging through politics, religion, marriage, class, and law, these tales, Enders argues, do the cultural work of all urban legends: they disclose the hopes, fears, and anxieties of their tellers. Each one represents a medieval meditation created or dramatized by the theater with its power to blur the line between fiction and reality, engaging anyone who watches, performs, or is represented by it. Each one also raises pressing questions about the medieval and modern world on the eve of the Reformation, when Europe had never engaged more anxiously and fervently in the great debate about what was real, what was pretend, and what was pretense. Written with elegance and flair, and meticulously researched, Death by Drama and Other Medieval Urban Legends will interest scholars of medieval and Renaissance literature, history, theater, performance studies, and anyone curious about urban legends.
Theatres of Independence is the first comprehensive study of drama, theatre, and urban performance in post-independence India. Combining theatre history with theoretical analysis and literary interpretation, Aparna Dharwadker examines the unprecedented conditions for writing and performance that the experience of new nationhood created in a dozen major Indian languages and offers detailed discussions of the major plays, playwrights, directors, dramatic genres, and theories of drama that have made the contemporary Indian stage a vital part of postcolonial and world theatre.The first part of Dharwadker's study deals with the new dramatic canon that emerged after 1950 and the variety of ways in which plays are written, produced, translated, circulated, and received in a multi-lingual national culture. The second part traces the formation of significant postcolonial dramatic genres from their origins in myth, history, folk narrative, sociopolitical experience, and the intertextual connections between Indian, European, British, and American drama. The book's ten appendixes collect extensive documentation of the work of leading playwrights and directors, as well as a record of the contemporary multilingual performance histories of major Indian, Western, and non-Western plays from all periods and genres. Treating drama and theatre as strategically interrelated activities, the study makes post-independence Indian theatre visible as a multifaceted critical subject to scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.
In A Thug & His Queen: What Won't You Do?, three worlds are quickly and suddenly colliding. There is Danez and Ronnisha, who live the good life apartment downtown and have love that is stronger than anyone could imagine. Danez's best friend, Lamarcus, is finding himself quickly falling for Rain, a woman everyone else is not sure can be trusted. Qoree has Chocolate Bunny, or Lala, by his side. Little do any of these couple know, their lives are about to change...all over money. One night Lamarcus is kicking it with Rain when he has a surprise guest: Qoree. Qoree is furious that Lamarcus and Danez are making moves in his hood, The Land, without asking him first. Once Lamarcus winds up in the hospital, Danez makes it his goal to get not only get revenge , but also what was taken from Lamarcus' house, money, all while keeping himself and Ronnisha safe. InA Thug & His Queen: What Won't You Do?, betrayal, suspicion, and boldness will lead these three couples in differentdirections ...directions that will soon enough lead to one place and one goal. Ronnisha will quickly find out what it means to be a thug's queen, and everything that comes along with it...
Growing up into a respectable strong woman is already a tough thing to accomplish in this society. Adrianna Frank, a biracial teenager growing up in South Florida, takes you on a journey in finding herself. Having her innocence seized from her in a most imperceptible way at an adolescent age, she tries to overcome the obstacles that continue to trample her path. Adrianna learns the hard way what the meaning of love is. She realizes that a nice big house is not always filled with warmth. She boldly accepts her heritage, but fights to accept her struggles for her road to womanhood.
La Jill Hunt’s bestselling No More Drama is just as relevant now as it was when it was first released. Veronica "Roni" Black has met her match. The hardcore, never fall in love, marriage is for suckers, is engaged to none other than the player of players, Tobias Sims, aka DJ Terror. Toby has found everything he wants in Roni and more. But just when Toby's ready to settle down and commit, one of his many lady "friends," Darla, is determined not to let anything—or anyone—come between their friendship, especially when Toby is the father of her child. Will Ron learn to trust her man long enough to marry him? Will Toby realize that sometimes being "just a friend" can be fatal to a relationship, and will he finally stand up to his past? The drama continues, and so does the laughter in No More Drama...