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The function of dance in Latin/o American culture is the focus of the essays collected in Everynight Life. The contributors interpret how Latin/o culture expresses itself through dance, approaching the material from the varying perspectives of literary, cultural, dance, performance, queer, and feminist studies. Viewing dance as privileged sites of identity formation and cultural resistance in Latin/o America, Everynight Life translates the motion of bodies into speech, and the gestures of dance into a provocative socio-political grammar. This anthology looks at many modes of dance--including salsa, merengue, cumbia, rumba, mambo, tango, samba, and norteño--as models for the interplay of cultural memory and regional conflict. Barbara Browning's essay on capoeira, for instance, demonstrates how dance has been used as a literal form of resistance, while José Piedra explores the meanings conveyed by women of color dancing the rumba. Pieces such as Gustavo Perez Fírmat's "I Came, I Saw, I Conga'd" and Jorge Salessi's "Medics, Crooks, and Tango Queens" illustrate the lively scope of this volume's subject matter. Contributors. Barbara Browning, Celeste Fraser Delgado, Jane C. Desmond, Mayra Santos Febres, Juan Carlos Quintero Herencia, Josh Kun, Ana M. López, José Esteban Muñoz, José Piedra, Gustavo Perez Fírmat, Augusto C. Puleo, David Román, Jorge Salessi, Alberto Sandoval
In this raucous collection of true-life stories, Chelsea Handler recounts her time spent in the social trenches with that wild, strange, irresistible, and often gratifying beast: the one-night stand. You've either done it or know someone who has: the one-night stand, the familiar outcome of a night spent at a bar, sometimes the sole payoff for your friend's irritating wedding, or the only relief from a disastrous vacation. Often embarrassing and uncomfortable, occasionally outlandish, but most times just a necessary and irresistible evil, the one-night stand is a social rite as old as sex itself and as common as a bar stool. Enter Chelsea Handler. Gorgeous, sharp, and anything but shy, Chelsea loves men and lots of them. My Horizontal Life chronicles her romp through the different bedrooms of a variety of suitors, a no-holds-barred account of what can happen between a man and a sometimes very intoxicated, outgoing woman during one night of passion. From her short fling with a Vegas stripper to her even shorter dalliance with a well-endowed little person, from her uncomfortable tryst with a cruise ship performer to her misguided rebound with a man who likes to play leather dress-up, Chelsea recalls the highs and lows of her one-night stands with hilarious honesty. Encouraged by her motley collection of friends (aka: her partners in crime) but challenged by her family members (who at times find themselves a surprise part of the encounter), Chelsea hits bottom and bounces back, unafraid to share the gritty details. My Horizontal Life is one guilty pleasure you won't be ashamed to talk about in the morning.
Evocative essays and interviews that celebrate the expressive possibilities of a world after dark
Here in New York, a good night never ends. We will not let it. Though the hour is late, we are more awake than we have ever been in our lives, we are wild-eyed and grinning and dancing around like fools, and the music is thumping and the lights are flashing and the whole place is pulsating like a massive beating heart, and we do not want to go home, we do not want to go to sleep. Above all, we do not want to miss anything. So begins Notes from the Night, Taylor Plimpton's account of a night out in New York City. Passionately engaged and endlessly curious, Plimpton is part participant, part observer, a student and uniquely apt chronicler of human behavior--particularly at its most absurd. Accompanied by his best friend Zoo and a tight-knit band of other mischief-makers, and fueled by drinks, drugs and big dreams, Plimpton journeys from one Manhattan hotspot to the next with boundless energy and an eye for the dark, often comic realities of club culture. Exploring the myriad pleasures, mysteries and pitfalls of that elusive world, Notes from the Night is guide to a place ― and a state of mind ― that has never been mapped. With savvy advice and point-on commentary, the book ushers the reader through the velvet ropes to experience New York's most exclusive nightclubs. Surrounded by celebrities, models, and the best of friends, the reader will feel the rush of the party , the wonderful, heart-thumping panic of approaching a beautiful woman and the often forgotten joy of simply having a good time. By relentlessly pursuing the truth of his own experience, Plimpton uncovers the sexy, and seamy, lining of the city that never sleeps, and in so doing exposes what at heart is sought by all those who leave their home well after dark -- the singular thrill of being young and free and full of desire in a world where anything can happen. Plimpton is both an unlikely clubber and a likely seeker--a little bumbling and somewhat aloof, often naïve and unusually erudite. He's an insider who remembers what it was like to be an outsider, and from this unique perspective he invites you to experience the splendor, sorrow and possibility of New York after hours. Lyrically written and vividly described, this brisk, surprising and confident debut will stay with you long after the sun has risen. From the Hardcover edition.
Winner of the National Book Award A New York Times Bestseller "The queer romance we’ve been waiting for.”—Ms. Magazine Seventeen-year-old Lily Hu can't remember exactly when the feeling took root—that desire to look, to move closer, to touch. Whenever it started growing, it definitely bloomed the moment she and Kathleen Miller walked under the flashing neon sign of a lesbian bar called the Telegraph Club. Suddenly everything seemed possible. But America in 1954 is not a safe place for two girls to fall in love, especially not in Chinatown. Red-Scare paranoia threatens everyone, including Chinese Americans like Lily. With deportation looming over her father—despite his hard-won citizenship—Lily and Kath risk everything to let their love see the light of day. (Cover image may vary.)
In this New York Times bestselling “imperative how-to for creativity” (Nick Offerman), Adam Savage—star of Discovery Channel’s Mythbusters—shares his golden rules of creativity, from finding inspiration to following through and successfully making your idea a reality. Every Tool’s a Hammer is a chronicle of my life as a maker. It’s an exploration of making, but it’s also a permission slip of sorts from me to you. Permission to grab hold of the things you’re interested in, that fascinate you, and to dive deeper into them to see where they lead you. Through stories from forty-plus years of making and molding, building and break­ing, along with the lessons I learned along the way, this book is meant to be a toolbox of problem solving, complete with a shop’s worth of notes on the tools, techniques, and materials that I use most often. Things like: In Every Tool There Is a Hammer—don’t wait until everything is perfect to begin a project, and if you don’t have the exact right tool for a task, just use whatever’s handy; Increase Your Loose Tolerance—making is messy and filled with screwups, but that’s okay, as creativity is a path with twists and turns and not a straight line to be found; Use More Cooling Fluid—it prolongs the life of blades and bits, and it prevents tool failure, but beyond that it’s a reminder to slow down and reduce the fric­tion in your work and relationships; Screw Before You Glue—mechanical fasteners allow you to change and modify a project while glue is forever but sometimes you just need the right glue, so I dig into which ones will do the job with the least harm and best effects. This toolbox also includes lessons from many other incredible makers and creators, including: Jamie Hyneman, Nick Offerman, Pixar director Andrew Stanton, Oscar-winner Guillermo del Toro, artist Tom Sachs, and chef Traci Des Jardins. And if everything goes well, we will hopefully save you a few mistakes (and maybe fingers) as well as help you turn your curiosities into creations. I hope this book serves as “creative rocket fuel” (Ed Helms) to build, make, invent, explore, and—most of all—enjoy the thrills of being a creator.
Discos, clubs and raves have been focal points for the development of new and distinctive musical and cultural practices over the past four decades. This volume presents the rich array of scholarship that has sprung up in response. Cutting-edge perspectives from a broad range of academic disciplines reveal the complex questions provoked by this musical tradition. Issues considered include aesthetics; agency; 'the body' in dance, movement, and space; composition; identity (including gender, sexuality, race, and other constructs); musical design; place; pleasure; policing and moral panics; production techniques such as sampling; spirituality and religion; sub-cultural affiliations and distinctions; and technology. The essays are contributed by an international group of scholars and cover a geographically and culturally diverse array of musical scenes.
A conceptual framework for understanding the development of improvised dance in late 20th-century America
This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination—separately or combined—offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena—tourism and migration—are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.