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Am Leben von Benjy Melendez, Anfuehrer der Ghetto Brothers, einer Gang aus dem New Yorker Stadtteil Bronx, werden globale Verflechtungen und Austauschprozesse sowie die Hybriditaet von Kultur greifbar. Die Graphic Novel 'Ghetto Brother. Warrior to Peacemaker' (2015) von Julian Voloj und Illustrationen von Claudia Ahlering geht der Geschichte von Benjy Melendez und damit den Anfaengen der Hip Hop-Kultur nach. Die Graphic Novel empfiehlt sich als Ganzschrift für den Englischunterricht. Die vorliegende Themenmappe bietet eine begleitende Unterrichtseinheit, welche die literarischen Besonderheiten und Herausforderungen dieses neuen Mediums aufgreift und gleichzeitig an curricularen Vorgaben anschließt.
An engrossing and counter view of one of the most dangerous elements of American urban history, this graphic novel tells the true story of Benjy Melendez, a Bronx legend who founded, at the end of the 1960s, the formidable Ghetto Brothers gang. From the seemingly bombed-out ravages of his neighborhood, wracked by drugs, poverty, and violence, he managed to extract an incredibly positive energy from this riot ridden era: his multiracial gang promoted peace rather than violence. Among its many accomplishments, the gang held weekly concerts on the streets or in abandoned buildings, which fostered the emergence of hip-hop.
Benjy Melendez, founder of the Ghetto Brothers street gang, social activist, and lead singer of the Ghetto Brothers band, now tells his story: a memoir of life as a late 1960s/early 1970s street gang member, of a musician on the cusp of stardom, a fighter for peace, and a man on a quest to reclaim his Jewish roots. With chilling detail and candor, Benjy Melendez opens up as never before in 'Ghetto Brother' (Benjy Melendez with Amir Said). Telling the story of his family, growing up first in the West Village in in the '60s, his family's forced move to the South Bronx, his life in a street gang, and his transformation to a peace ambassador, 'Ghetto Brother' is a riveting memoir that explores the human condition. Melendez takes us back to the forgotten New York of the late 1960s and early 1970s that gave rise to New York's infamous street gang era. But at its core, Ghetto Brother examines the route from boy to man in uncharted territory, and it renders a vivid portrait of what identity means and what happens when that identity dissolves and grows anew. Evocative and filled with the sights and sounds of a changing New York and a transformative life, 'Ghetto Brother' is the fascinating chronicle of a remarkable journey and an extraordinary leader.
A teenage girl recounts the suffering and persecution of her family under the Nazis, in a Polish ghetto, during deportation, and in a concentration camp.
"Don't misunderstand. Ghetto is more than just a place. It has little to do with what color you are, where you live, or how much money you have. Anybody can be ghetto."--Page 1.
This Eisner Award nominee, a graphic novel adaptation of the award-winning Broadway play Ghetto Klown, is a "hilarious Hollywood memoir" (Lin-Manuel Miranda, from his introduction) and "autobiographical dynamite” (Pulitzer Prize–winning author Junot Díaz). Tony Award winner John Leguizamo lays bare his life story in this graphic novel illustrated by artists Christa Cassano and Shamus Beyale. He shares memories of his early years as an actor on stage, on television, and in major motion pictures opposite some of Hollywood’s biggest stars—including Al Pacino, Patrick Swayze, and Steven Seagal—and working for directors Baz Luhrmann and Brian De Palma. Leguizamo also opens up about his loves and marriages, while addressing self-doubt and melancholy in a way that enlightens and entertains. “[John] is a pioneer in theater and comedy, not just for Latin people, but as much as any comic or playwright I’ve ever seen or read. No one makes me laugh louder than this man. We are better because of him.” —Sofía Vergara “The graphic novel of Ghetto Klown captures the infectious spirit of John Leguizamo’s live performances with the same surprising humor and cultural insight. These pages make John seem like the coolest super hero in New York.” —Jesse Eisenberg
The south side of Billsview, Texas, is a part of the city that has a bad reputation of being called labels such as ghetto and hood. A lot of the city’s poverty, government aid, and crime occur in the south part of the city. David Williams is a former high school football All-American local legend who experienced a setback but rebounded in the US Army, which led to him being an Army Ranger who was awarded the Medal of Honor. After getting wounded and medically discharged against his will, he came back to his mother’s house to keep his younger siblings—RJ, Ashely, and Mya—in line and on the right path. With a mother who does not seem to care about her children and a father who none of David’s siblings have seen before, David wants to please God while keeping his siblings away from the devil’s seductions of illegal activity, gangs, drugs, teenage pregnancy, and STDs. He wants them all to graduate high school, go to college, and make it out of the south side of town that he blames for ruining so many young lives as he blames it for almost ruining his own.
Shows Jewish ghetto life during the Nazi occupation of Poland, focusing on street scenes, beggars, children, and victims of disease and starvation.
Writing to his brother, G’Ra Asim reflects on building his own identity while navigating Blackness, masculinity, and young adulthood—all through wry social commentary and music/pop culture critique How does one approach Blackness, masculinity, otherness, and the perils of young adulthood? For G’Ra Asim, punk music offers an outlet to express himself freely. As his younger brother, Gyasi, grapples with finding his footing in the world, G’Ra gifts him with a survival guide for tackling the sometimes treacherous cultural terrain particular to being young, Black, brainy, and weird in the form of a mixtape. Boyz n the Void: a mixtape to my brother blends music and cultural criticism and personal essay to explore race, gender, class, and sexuality as they pertain to punk rock and straight edge culture. Using totemic punk rock songs on a mixtape to anchor each chapter, the book documents an intergenerational conversation between a Millennial in his 30s and his zoomer teenage brother. Author, punk musician, and straight edge kid, G’Ra Asim weaves together memoir and cultural commentary, diving into the depths of everything from theory to comic strips, to poetry to pizza commercials to mapping the predicament of the Black creative intellectual. With each chapter dedicated to a particular song and placed within the context of a fraternal bond, Asim presents his brother with a roadmap to self-actualization in the form of a Doc Martened foot to the behind and a sweaty, circle-pit-side-armed hug. Listen to the author’s playlist while you read! Access the playlist here: https://sptfy.com/a18b
Arguing that pop music turns on moments rather than movements, the essays in Listen Again pinpoint magic moments from a century of pop eclecticism, looking at artists who fall between genre lines, songs that sponge up influences from everywhere, and studio accidents with unforeseen consequences. Listen Again collects some of the finest presentations from the celebrated Experience Music Project Pop Conference, where journalists, musicians, academics, and other culturemongers come together once each year to stretch the boundaries of pop music culture, criticism, and scholarship. Building a history of pop music out of unexpected instances, critics and musicians delve into topics from the early-twentieth-century black performer Bert Williams’s use of blackface, to the invention of the Delta blues category by a forgotten record collector named James McKune, to an ER cast member’s performance as the Germs’ front man Darby Crash at a Germs reunion show. Cuban music historian Ned Sublette zeroes in on the signature riff of the garage-band staple “Louie, Louie.” David Thomas of the pioneering punk band Pere Ubu honors one of his forebears: Ghoulardi, a late-night monster-movie host on Cleveland-area TV in the 1960s. Benjamin Melendez discusses playing in a band, the Ghetto Brothers, that Latinized the Beatles, while leading a South Bronx gang, also called the Ghetto Brothers. Michaelangelo Matos traces the lineage of the hip-hop sample “Apache” to a Burt Lancaster film. Whether reflecting on the ringing freedom of an E chord or the significance of Bill Tate, who performed once in 1981 as Buddy Holocaust and was never heard from again, the essays reveal why Robert Christgau, a founder of rock criticism, has called the EMP Pop Conference “the best thing that’s ever happened to serious consideration of pop music.” Contributors. David Brackett, Franklin Bruno, Daphne Carr, Henry Chalfant, Jeff Chang, Drew Daniel, Robert Fink, Holly George-Warren, Lavinia Greenlaw, Marybeth Hamilton, Jason King, Josh Kun, W. T. Lhamon, Jr., Greil Marcus, Michaelangelo Matos, Benjamin Melendez, Mark Anthony Neal, Ned Sublette, David Thomas, Steve Waksman, Eric Weisbard