Examines the making of music videos, originally performed by paid professionals, moving through an amateur stage, to a summer camp in 2011, called OMG! Cameras Everywhere.
The Suburbs is an incredibly sentimental and nostalgic album, which generally moved critics but was jarring to others. But it also made a heavy impact on fans and – to the surprise of many – won Album of the Year at the 2011 Grammy Awards. This immensely visceral album triggers a sincere celebration of not formative years spent in a cookie-cutter development, but of feeling self-important, immortal, and desperate to escape. It examines youth and amplifies an innate sense of longing and remembrance. Eric Eidelstein's The Suburbs explores this weird, utopic recollection of youth by comparing the album to suburban scenes in film and television, such as Blue Velvet, Mad Men, The Americans, and Spike Jonze's Scenes from the Suburbs. Through the close examination of film and televised depictions of the suburbs, both past and present, Eidelstein delves into the societal factors and artistic depictions that make the suburbs such a fascinating cultural construct, and uncovers why the album creates such a relatable and universal sense of reminiscence.
Winner of the Jewish Chronicle Harold H. Wingate Literary Award. Rothschild Buildings were typical of the 'model dwellings for the working classes' which were such an important part of the response to late-Victorian London's housing problem. They were built for poor but respectable Jewish immigrants from Eastern Europe, and the community which put down roots there was to be characteristic of the East End Jewish working class in its formative years. By talking to people who grew up in the Buildings in the 1890s and after, and using untapped documentary evidence from a wide range of public and private sources, the author re-creates the richly detailed life of that community and its relations with the economy and culture around it. The book shows how cramped and austere housing was made into homes; how the mechanism of class domination, of which the Buildings were part, was both accepted and fought against; how a close community was riven with constantly shifting tensions; and how that community co-existed in surprising ways with the East End casual poor of 'outcast London'. It provides unique and fascinating insights into immigrant and working-class life at the turn of the last century.
The final volume of the author's east Kimberley region life history books P the other titles in the series being TMy Country of the Pelican Dreaming' (1981), TBanggaiyerri' (1983), TCountryman' (1986) and TBush Time, Station Time' (1991). This volume contains the life stories of 18 Aboriginals, compiled from tape-recorded conversations. Contains a chronology, an extensive glossary, a select bibliography and an index.
Using interviews and photographs, Anthony Riccio provides a vital supplement to our understanding of the Italian immigrant experience in the United States. In conversations around kitchen tables and in social clubs, members of New Haven's Italian American community evoke the rhythms of the streets and the pulse of life in the old ethnic neighborhoods. They describe the events that shaped the twentieth century—the Spanish Flu pandemic, the Great Depression, and World War II—along with the private histories of immigrant women who toiled under terrible working conditions in New Haven's shirt factories, who sacrificed dreams of education and careers for the economic well-being of their families. This is a compelling social, cultural, and political history of a vibrant immigrant community.
This book is a unique and detailed account of a rural way of life formed from extensive academic research and oral testimony recorded in the 1970's. It tells of the farm servant system in East Yorkshire which was central to the rural economy in that area for men born before 1900. Boys as young as 13 would be looking after and working with as many as 4 heavy horses in a team. Their lives would be spent living in the farmhouse and would continue that way until they married. Rural history forms an essential part of national history, with different parts of the UK having very varied employment systems. This book describes how, although having roots deep in history, the East Riding farming system was thoroughly modern and profitable, paying good wages to its workers. Telling the stories of their lives in their own words, this book brings to life the intimate details of a distant way of living and working.
“So many things you do not know of me; I am not what you see. I am really something else. Maybe I should not be telling you this, but I need to turn to someone...” Klio Tsitsikroni shares her heart-wrenching story of growing up in a dysfunctional family, before turning to drink and drugs to escape the abuse and trauma of her unhappy childhood. Growing up in the 1970s as a young, Greek gay girl meant that Klio struggled to be accepted. Turning to self-harm – a topic not heard of in those days – only isolated her further from the ideals of society. “If I can turn the demons into angels, my fears into dreams, then everything is possible in life...” During time in rehab, Klio slowly learned to love herself and to once again believe in her dreams. It is there that she met a group of prostitutes, all damaged in their own way, who came to show her love, shelter and friendship. Armed with a determination to find her first love – Cheryl – Klio fought her addiction in order to turn her life around. Inspired by authors such as Toni Morrison, Charles Bukowski and Constance Briscoe, Klio’s inspirational autobiography demonstrates that, in the face of adversity, anyone can achieve their dreams. A moving read, Return Me to Myself will appeal to anyone in the LGBT community, and to fans of autobiographies.
Best friends? Strangers? Lovers? Anna and Anthony act like strangers but they're not. Their moms are best friends so they both grew up together. They were best friends. Everything in their childhood was fine until Anthony stopped talking to her in seventh grade. He wanted to be cooler. Anna then was very confused but found a new friend. Joshua. She only has him because the girls in her school don't like her but they do like Anthony. Everyone at school loves Anthony. Every girl wants him and every guy wants to be friends with him. But Anthony wasn't really the best student so the principal found him a tutor. What a surprise, the tutor was Anna. Anna was one of the best students in the whole school. Anthony wasn't really happy about that but he has to improve his grades. Are they going to become friends again or even worse?
What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer. The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother's death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years. These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page. The plays include: The House by Arzé Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Évelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciação (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)
The book is about the story of Randhir. A simple, young boy trying to achieve his dreams on the land where lakhs of people come every year to try their destiny… Kota, Rajasthan. On the way, he falls in love with Sahiba; but, is love so easy to accomplish? Is it even love, if there is no chaos? Is it love if you do not push yourself way out of your character to get it? Randhir’s life breaks the routine of his back-and-forth movement from coaching to PG and PG to coaching with twists & turns, and he lives the moments he did not dream of. In the process, friendships are tested, there is family pressure to be handled, and love to be defined. Randhir, in love with Sahiba, tries to do everything he can - be it putting his career at risk, getting into a fight, trying to find a doctor for an abortion, (yes, someone gets pregnant as well), and trying to befriend somebody just to get close to someone. Meeting new people on the way who eventually become important, he seems to complete the circle of life by narrating his story to a young boy.