It is the opinion of this court that, for reasons of clarity and by every metric of common sense, the big joker should be the bigger joker. We do, however, acknowledge the precedent of house rules.
By a 5-4 margin, the court rules in favor of the plaintiff.
However, we also rule that J-Mac’s slur that referred to his opponents as “cheating motherfuckers” no longer applies, as this was a legitimate dispute. As such, he must compensate Man Man with the fifth of Crown Royal that spilled when J-Mac knocked over the spades table.
African literature is the object of immense international interest across both academic and popular registers. Far from the field’s earlier, post-colonial association with marginality, a handful of star “Afropolitan” names are at the forefront of global trade publishing.
Books like Chimamanda Adichie’s “Americanah” and “Half of a Yellow Sun”, Teju Cole’s “Open City”, Taiye Selasi’s “Ghana Must Go” and Yaa Gyasi’s “Homegoing” have confounded neat divisions between Western and African literary traditions. The Cameroonian novelist Imbolo Mbue captured a million-dollar contract for her first book, “Behold the Dreamers”. That’s even before it joined the Oprah’s Book Club pantheon this year.
Han, 16, has a Nigerian father in a society where racial discrimination is widespread and people of mixed race are commonly referred to as “mongrels”.
“A dark-skinned fashion model like Han was unheard of in South Korea, so recruiting him was a big gamble,” said agent Youn Bum.
Now Han is posing for top glossy magazines as the country’s first black fashion model.
South Korea has for years sought to foster the image of a modern, sophisticated and tech-savvy nation whose pop culture has made waves across Asia.
But behind the facade of an economic and cultural powerhouse lies a deeply rooted racism – even as its immigrant population creeps up, doubling over the last decade but still only four per cent of the population.
Floyd “Money” Mayweather wants to make it clear that he isn’t ducking paying his taxes. In fact, the undefeated fighter, who is set to take on the Great White Hope in August, claims that he paid the IRS $26 million in 2015.
A young Jimi Hendrix on the Chitlin Circuit
The “Chitlin Circuit” is the collective name given to performance venues throughout the eastern, southern, and upper midwest areas of the United States that were safe and acceptable for African American musicians, comedians, and other entertainers to perform in during the era of racial segregation in the United States …
Bosley Family Mock Wedding – around 1985?
Back in the day the family hub was Lewisville Rd in Lawerenceville, NJ. On this short road lived our greatparents, grandparents, and all their brothers and sisters. This means our parents grew up together on this street. When we came along we went to our grandparents’ homes and met up with all our cousins. At the time Lewisville Rd was way back in the country, surrounded by farms (Kling) and the Lawrenceville School. Mostly the whole street was family and those who weren’t blood related were related anyway. It was a great place to grow up and we had great times well into our adult years.
This wedding just happened. Somebody put out the call there was going to be a wedding and everybody prepared for it. What a day, what a very special day. Our Aunt Barbara was the bride and Mr. Paul Marrow was the groom. My dad was the father of the bride.
No Chuck Berry, no rock and roll.
The origins of rock and roll were messy. The music didn’t evolve in a linear fashion; it’s never been clear who invented it, or what exactly the first rock and roll song was, so people have been arguing about it ever since. Some people will make a case for this or that early classic or moment—Ike Turner’s 1951 “Rocket 88,” say, or even something like (my nominee) Sister Rosetta Tharpe windmilling a solid-body electric guitar as a gospel group behind her sang to the heavens—but each of these in some way isn’t the full story. There are always progenitors doing something entirely different somewhere else. The best thing you can do, as the scholar Ed Ward does in the first volume of his just-released History of Rock & Roll, is to go back and track down all the folks who were doing those weird things, with the caution that it was not a linear tale. Phil Everly, of the Everly Brothers, sang professionally from the time he was in grade school and closely watched the music evolve. He put it this way: It was, he said, “like four or five avenues rolling toward one another.”
All that said, there’s a way in which this debate misses the point, and the way it misses the point always comes back to Chuck Berry. Berry is still around—he just turned 90, and even announced that he’s releasing a new album. He knew the blues, and he knew country, and he was there when rock started. But he also knew something that other people didn’t. The most important thing he gave us was something not musical. It was an idea.
But first, some context. Beginning as far back as the late 1930s and stretching to the early ‘50s, with varying amounts of nerve and gregariousness, a number of crackpots and journeymen started playing around with the extant musical genres of the day. Some played jazz or blues but started putting pop and even country in it. Others played country and started putting blues into it. Some even sang gospel, and put an electric guitar into that. Some had chips on their shoulders, looking for something new and explosive; others were just doing what came naturally and weren’t looking to offend. What some people like about rock and roll—one of the things I like about rock and roll—is that this messiness is a metaphor. Like the nation it was formed in, under an abstract conception it created itself and drew paradoxical strength from its differences.
It also ended up making a lot of money for a few people. It’s true, but a bit reductive, to say rock was just the proffering of a cash product to a new consumer. That doesn’t explain how these often confrontational sounds no one had asked for became a sensation. (A good definition of rock, in fact, is that it’s popular music that to a certain degree doesn’t care if it’s popular.) Those consumers didn’t know what they wanted either; it turned out they were just in the grip of an inchoate desire for something new. In some of the new sounds they could sense a stubbornness, a reflexive pushback—a bit defiant, a bit mischievous—against some of the artificial boundaries of the society. One of those boundaries, however artificial, had some pretty determined adherents, and in strictly sociological terms, the sound of the music aside, rock really began when records made by blacks started to get exposure to a white audience, and some white kids decided they liked it. Then, you might say, market forces began to shape the music. But that didn’t stop the innovation. Rock and roll was black music that let whites play it, and (not incidentally) vice versa; it was spiritual music that went carnal, regional music that went national (and then international), and rural music that went urban. (It was also sex music that came out of the bedroom.) There seems to be something inherent in the music that doesn’t like boundaries; it fed on the tensions that resulted.
“Rock Around the Clock,” by the New York group Bill Haley and the Comets, wasn’t the first rock record, but – more