In Los Angeles in the 90s, Davey Stein and his two best friends, Dab and Doc, are three black bachelors whose goal is to meet ladies. Davey has a high sexual appetite and opinion of himself—even if he is shallow and desperate for tail. No matter how horny, though, he cares about how his woman looks, particular about who meets “Junior.” Together, the three friends get caught up in various escapades as they have fun before each of them meets “the one.” Davey is actually looking to settle down sooner rather than later. In Why Must I Chase Da Cat, each story revolves around the pursuit of a particular sexual partner (or partners). Observe the interworking of the minds of three men whose main thought is how to get over, under, or with the next cutie on duty. “You just gots to chase da cat ... it’s nuttin’ but the dawg in you.” That’s true for Davey, but not for much longer, as he knows “the one” is out there somewhere.
One day the dog decides not to chase the cat, the cat decides not to chase the mouse, the mouse decides not to chase the lady, and they all have a party.
Have you ever wondered why the dog chases the cat and the cat chases the mouse? This is a story of friendship, companionship and trust. Dusk, Dawn and Curly; a dog, a cat and mouse, brought together by friendship, living together in harmony until a surprise changes their outlook towards each other for all of time.
In a new anthology of essays, an international group of scholars examines the powerful interaction between gender and race within the Civil Rights Movement and its legacy.
Archie Harris works as a paralegal for a sprawling law firm in Washington, D.C., and is ready to embark on a weeklong vacation that includes watching movies, attending outdoor concerts, and catching up on some R&R (Rest and Relaxation). Little does he know that fate has other plans for him. Archie kicks off his vacation at HIPSTERS, a premier hot spot in D.C., where he meets the sophisticated Vivian Williams who is visiting the city on business. At first glance, it appears that Vivian is all work and no play, but when she asks Archie to show her the sites, Archie, sensing a possible sexual encounter, readily accepts. But Archie has one major concern. He is rusty when it comes to entertaining women, let alone pursuing sex. Enter Tre, an old friend who comes to Archie's rescue. Archie and Tre meet up once again after six years for an upcoming birthday bash for a mutual friend. Unbeknownst to them the celebrated birthday boy happens to be Vivian's favorite uncle. In this hilarious account of Archie's lustful journey, only time will tell if Archie scores with Vivian and whether true love will be discovered in the process.
Break out the flannel, scrunchies, and high-rise jeans and indulge in this nostalgic illustrated trip through the 1990s’ most influential albums across all genres. In 501 Essential Albums of the ’90s, Gary Graff leads a cast of fellow music journalists in presenting the music of everyone’s favorite decade…the last decade before the proliferation of social media and digital downloads. With lively descriptions of the releases and over 600 images, this hefty 448-page volume curates 501 albums spanning genres and subgenres—pop, hip-hop, R&B, grunge, metal, country, world music—and features: Year-by-year organization Knowledgeable rundowns of every album featured Album art for each selection Artist imagery Record label, release date, and producer(s) for each Soundtracks and compilation releases also included The journalists detail the circumstances of the releases, notable singles from each, their influence on contemporary and later artists…in short, why each is considered one of the best of the decade. Britney or Body Count, Nirvana or NSync, Metallica or Morisette, Garth or Green Day, Weezer or Wu Tang—whatever your tastes, you will relish this ultimate retrospective of the decade’s music.
Illustrates the ways that the “war on crime” became conjoined—aesthetically, politically, and rhetorically—with the emergence of gangsta rap as a lucrative and deeply controversial subgenre of hip-hop In The Mark of Criminality: Rhetoric, Race, and Gangsta Rap in the War-on-Crime Era, Bryan J. McCann argues that gangsta rap should be viewed as more than a damaging reinforcement of an era’s worst racial stereotypes. Rather, he positions the works of key gangsta rap artists, as well as the controversies their work produced, squarely within the law-and-order politics and popular culture of the 1980s and 1990s to reveal a profoundly complex period in American history when the meanings of crime and criminality were incredibly unstable. At the center of this era—when politicians sought to prove their “tough-on-crime” credentials—was the mark of criminality, a set of discourses that labeled members of predominantly poor, urban, and minority communities as threats to the social order. Through their use of the mark of criminality, public figures implemented extremely harsh penal polices that have helped make the United States the world’s leading jailer of its adult population. At the same time when politicians like Ronald Reagan, George H. W. Bush, and Bill Clinton and television shows such as COPS and America’s Most Wanted perpetuated images of gang and drug-filled ghettos, gangsta rap burst out of the hip-hop nation, emanating mainly from the predominantly black neighborhoods of South Central Los Angeles. Groups like NWA and solo artists (including Dr. Dre, Snoop Dogg, and Tupac Shakur) became millionaires by marketing the very discourses political and cultural leaders used to justify their war on crime. For these artists, the mark of criminality was a source of power, credibility, and revenue. By understanding gangsta rap as a potent, if deeply imperfect, enactment of the mark of criminality, we can better understand how crime is always a site of struggle over meaning. Furthermore, by underscoring the nimble rhetorical character of criminality, we can learn lessons that may inform efforts to challenge our nation’s failed policies of mass incarceration.
In the late 1980s, gansta rap music emerged in urban America, giving voice to, & making money for, a social group widely believed to be in crisis: young, poor, black men. Quinn probes the origins of the genre, & follows its development, focusing on artists such as Ice Cube & Tupac Shakur.
This one is for music lovers! This entry in the Findagroov™ Reviews The Songs Of... series examines the music of the late "Queen Of Disco", Donna Summer. Covering all of her recorded songs from the late sixties up until her passing in 2012, this book provides deep discussions on each song, looking at the lyrics, the song's meaning, and its significance both when originally recorded and how it applies to today's society. It also illustrates how Donna Summer was much more than just a disco queen as her music ran the gamut from soul, funk, off-Broadway, German rock, pop, country, new wave, reggae, rock, gospel, soundtrack and, of course, disco. The book also covers guest appearances on other artists' songs as well as live recordings, broadcast performances, and other rarities.
