Omo N?Oba Erediauwa, formerly Prince Akenzua, is the present Oba of Benin, a position he has occupied since 1979. Previously, he variously served as a cadet administrative officer under the colonial government and a member of the cabinet office of the first independence government. Omo N?Oba Erediauwa has been writing this autobiography since 1965. It conveys his student days, his years of experience in the civil service, his Biafran war experiences, his accession to the throne of Benin, rise to kingship and subsequent tours and experiences.
As service workers in a luxurious sleeping-car train system, Pullman porters had both the highest status in the black community and the lowest rank on the train. They were trapped in the dual roles of charming host and obedient servant, and their constant smiles--even in the face of unreasonable demands by white passengers--were part of the job requirement. Jack Santino's interviews with retired porters provide extensive firsthand accounts of their work, the job inequities they faced, the formation of the Brotherhood of Sleeping Car Porters, and the aborted Pullman porter strike of 1928. Through the testimony of ran-and-file workers as well as key figures such as E. D. Nixon, the porter who initiated the Montgomery bus boycott and helped launch the career of Martin Luther King, Jr. and C.L. Dellums, the only surviving founding member of the BSCP, Miles of Smiles, Years of Struggle illuminates the Pullman porters' struggle for dignity.
Obedient servantMasochism was the term initially used by the famed Austrian psychiatrist Richard Von Krafft-Ebing, author of the classic text, Psychopathia Sexualis (1931). Krafft-Ebing named masochism after the Austrian writer Leopold Von Sacher-Masoch, whose books often carried a masochistic theme. Sacher-Masoch also practiced what he preached. He was attracted to dominant women in furs as depicted in his book, Venus in Furs (1869). Apparently, the writer pressured his first wife Aurora Von Rümelin to live out the experiences of his book which she did, but with reservations. Following his death, she wrote about her experiences in her memoir, My Life Confession (Mein Lebensbeichte) (1906). Bored with marriage, Sacher-Masoch also had mistresses who engaged in his sexual fantasies. For example, he signed a contract with Baroness Fanny Pistor to make him her slave for 6-months provided she wear furs as often as possible, particularly when she was in a vile mood.According to the DSM-V (2013), the paraphilic focus of sexual masochism involves the act of experiencing-over a period of at least 6 months-sexual arousal from being humiliated, beaten, bound, or made to suffer in some way. To be considered problematic, the fantasies, urges, or behaviors must cause significant distress or impairment in social, occupational, or other important areas. Some scholars differentiate between sexual masochism and moral masochism-moral masochism has more to do with self-punishment for bad behavior; sexual masochism-which this article is primarily concerned with-has to do with sexual arousal leading to sexual satisfaction (Kernberg, 1991; Maleson, 1984).Sexual masochistic behaviors vary depending on an individual's preference. For example, some masochists like to be tied up and flogged (BDSM); others prefer to be verbally humiliated only; and some are aroused by more severe or dangerous forms of masochism such as asphyxiation, to name a few. Nevertheless, there are many fallacies about masochism which the following list may help to dispel:1. Most masochists have their limits and safety is extremely important. The research has indicated that relatively few people get hurt, and when injury does occur it's usually the result of an accident or poor judgment (Moser & Levitt, 1987; Scott, 1983).2. According to Money & Lamacz (1989), if under control, a sadist and a masochist can make a sexuality compatible match.3. Masochists tend to be upper-middle class.4. Masochists tend to be well-educated.5. Studies have found that masochists are not anti-feminist (Cross & Matheson, 2006).6. More men engage in masochistic behavior than do women. The main differences have to do with the specific acts preferred. Women prefer less intense forms of masochism usually related to a relationship (e.g., light spanking); men prefer acts that reduce their status as a man (e.g., being forced to kiss a partner's feet or being cuckolded (Baumeister & Butler, 1997).7. There are far more masochists than there are sadists (Baumeister, 1988, 1989; Cross & Matheson, 2006).8. Prostitutes report a more disproportionate ratio. In fact, one of the biggest challenges for a self-respecting masochist is to find a suitably cooperative sadist.9. According to the professional literature, many sadists start out as masochists.10. The onset of masochism was found to be 19.3 years of age, although fantasies have been reported in childhood (DSM-V, 2013).11. Freud (1905/1953) believed that in every sadist there is a masochist and in every masochist there is a sadist. He coined the term sadomasochism.12. Deleuze (1967) rejected the term sadomasochism. He saw sadism and masochism as distinct.13. Both sadist and masochist exert control in the sadomasochistic dynamic. The sadist takes overt control and the masochist prefers it that way.14. Both sadist and masochist share the delight in their sexual process and differ from other sadis.
Since its Broadway debut, Hamilton: An American Musical has infused itself into the American experience: who shapes it, who owns it, who can rap it best. Lawyers and legal scholars, recognizing the way the musical speaks to some of our most complicated constitutional issues, have embraced Alexander Hamilton as the trendiest historical face in American civics. Hamilton and the Law offers a revealing look into the legal community's response to the musical, which continues to resonate in a country still deeply divided about the reach of the law. A star-powered cast of legal minds—from two former U.S. solicitors general to leading commentators on culture and society—contribute brief and engaging magazine-style articles to this lively book. Intellectual property scholars share their thoughts on Hamilton's inventive use of other sources, while family law scholars explore domestic violence. Critical race experts consider how Hamilton furthers our understanding of law and race, while authorities on the Second Amendment discuss the language of the Constitution's most contested passage. Legal scholars moonlighting as musicians discuss how the musical lifts history and law out of dusty archives and onto the public stage. This collection of minds, inspired by the phenomenon of the musical and the Constitutional Convention of 1787, urges us to heed Lin-Manuel Miranda and the Founding Fathers and to create something new, daring, and different.
With careful biblical exposition and keen cross-cultural awareness, Duane Elmer offers principles and guidance for avoiding misunderstandings and building relationships in ways that honor people in other cultures.
“That’s a lot of horse hockey, Hamilton.” Described by the New York Times as “classic activist theater” and “a cross between ‘A Christmas Carol’ and a trial at The Hague’s International Criminal Court.” "In this, his latest work, the protean Ishmael Reed--the legendary artist and prolific writer--continues to burnish his already sterling reputation by dismantling the 'Creation Myth' of the founding of the U.S., as represented in the incredibly profitable play and musical, Hamilton. Reed, a verbal acrobat of global renown, demonstrates here why he is widely considered to be the leading intellectual in the U.S. today." -Gerald Horne, author of The Counter-Revolution of 1776: Slave Resistance and the Origins of the USA This powerful play, originally produced at the Nuyorican Poets Café, comprehensively dismantles the phenomenon of Lin-Manuel Miranda and Hamilton. Reed uses the musical’s crimes against history to insist on a radical, cleareyed way of looking at our past and our selves. Both durable and timely, this goes beyond mere corrective – it is a meticulously researched rebuttal, an absorbing drama, and brilliant rallying cry for justice. The perfect tie-in to both the success of and backlash to Hamilton, it is the major voice in contrast to the recent movie. It captures both the earnest engagement that fans of the musical desire, as well as the exhausted disbelief of those who can’t stand it. Teachers, students and fans of drama, literature, and history will find much to love. It is written by one of America’s most respected and original writers, who is eagerly promoting it, and who is long overdue for a renaissance.
Winner of the 2016 Pulitzer Prize for Drama Now a major motion picture, available on Disney Plus. Goodreads best non-fiction book of 2016 From Tony Award-winning composer-lyricist-star Lin-Manuel Miranda comes a backstage pass to his groundbreaking, hit musical Hamilton. Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims the origins of the United States for a diverse new generation. HAMILTON: THE REVOLUTION gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages - "since before this was even a show," according to Miranda - traces its development from an improbable performance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here. Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer, Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than 50 people involved with the production; and multiple appearances by President Obama himself. The book does more than tell the surprising story of how a Broadway musical became an international phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.
