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PROLOGUE WILD WAVES AND BONFIRES 1971 BALTIMORE, MARYLAND A HOWARD JOHNSON'S PARKING LOT NEAR I-95 I packed an overnight bag and counted out eighty dollars, all the money I had in the world. My mother drove me to a Howard Johnson's near I-95. A car pulled up with four friends, each of whom had come from a different point north of Maryland. At age twenty-one I left my family, my hometown, and, with my four friends, took off for California. We wanted to see America and to make sense, each in our own way, of what to do with all the breakage and promise that had been released through the antiwar movement, the assassinations of Martin Luther King and Bobby Kennedy, the beginning of the environmental movement, and the bra-burning, brief as it was, of the women's movement. And there was the masculine glamour and fashion of the black liberation movement. Years later I would talk to some of those Black Panthers. One of them mused openly, "I think we got caught up in the theater of it. We began to believe we were in a movie." One of the Chicago Eight would similarly say, "It was theater, until the cops showed us the difference between reality and theater, and hauled some of us off to jail." Was it theater or not? I took off to see for myself. Quite apart from the theater, the sexiness of the antiestablishment voice was another promise, a serious promise that was eking out from under all the chants, all the music, all the pageantry. What was promised, after all was said and done, was a larger idea of "we the people." What was promised was that more voices would matter, that the patrician white male would not be the only one to hold the chair. This promise was made by none other than ourselves, so if we were to ever be disillusioned again, we would have to be the cause of that disillusionment. My mother tells me she sat in the car and cried for a long time after I left. Her life's work had been to educate me, my four siblings, and hundreds of others who had passed through her classrooms all over Baltimore. Her goal had been to position us firmly in the black middle class. Her trajectory was one that had been formed in the Depressiona colored girl growing up poor in a family of eight in a tough, segregated Baltimore. My father, more fortunate, had been the son of a businessman who had an eighth-grade education and had started a business with a pushcart. His shop had eventually held its own on Pennsylvania Avenue, the street for black businesses during the day and good jazz at night. My grandfather had managed to send all six of his kids to college. My mother and her siblings, too, all went to college. I suspect that some of those kids my mother taught in the Baltimore public schools, she only wanted to keep out of trouble, heartbreak, and illiteracy. (She never believed there was such a thing as a nonreader.) As for me, she had spent many nights helping me read and write, and I could tell she had faith in me. But life is more than reading, Social Science Social Science eBook, Random House Publishing Group
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1995, ISBN: 0375501509
Anna Deavere Smith, an actress and playwright in a category all her own, travels America in pursuit of authentic language, the kind that reveals the truth of a person, not just information. Once she finds that "personal music," she becomes the person through their verbal tics and idiosyncrasies, showcasing them in her critically acclaimed one-women plays. In 1995, Smith took her tape recorder to Washington, D.C., to capture the American presidency. But, she writes, "I knew that I knew nothing about the president, or any public figure for that matter, that the press didn't tell me. I would have to look at the press too." Over the course of five years, she interviewed Washington insiders (George Stephanopoulos, Marlin Fitzwater, David Kendall), members of the press (Ben Bradlee, Mike Wallace, Mike Isikoff), cultural critics (Ken Burns, Studs Terkel), and finally President Clinton himself. The book is a hybrid of transcripts of these interviews, vignettes of capitol politics, and ruminations on language, race relations, and inclusion; the parallel between the theatre and politics; and the potential for genuine human communication between politicians and the people. "The language of Washington is in disrepair," Smith writes, "a verbal flat line," and though politicians have tried to learn from actors, they have failed so fully they can no longer connect with their audiences. The press comes in for an even stronger critique as a group that honors truth, but is busy looking for arts and literature,biographies,communication and media studies,education and reference,entertainers,humor and entertainment,leaders and notable people,linguistics,memoirs,political Entertainers, Random House
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[EAN: 9780375501500], Gebraucht, guter Zustand, [PU: Random House], Performing Arts|Acting & Auditioning, Political Science|General, Biography & Autobiography|General, Social Science|Methodology, Ex-Library Book - will contain Library Markings. Only lightly used. Book has minimal wear to cover and binding. A few pages may have small creases and minimal underlining.
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[EAN: 9780375501500], Gebraucht, guter Zustand, [PU: Random House], Performing Arts|Acting & Auditioning, Political Science|General, Biography & Autobiography|General, Social Science|Methodology, Good: Gently used may contain ex-library markings, possibly has some minor highlighting, textual notations, and or underlining. Text is still easily readable.
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Random House. Hardcover. GOOD. Gently used may contain ex-library markings, possibly has some light highlighting, textual notations, and or underlining. Text is still easily readable., Random House
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Talk to Me: Listening Between the Lines
Details of the book - Talk to Me: Listening Between the Lines
EAN (ISBN-13): 9780375501500
ISBN (ISBN-10): 0375501509
Publishing year: 2000
Publisher: Random House Publishing Group
Book in our database since 25.10.2007 12:05:22
Book found last time on 09.02.2017 15:00:30
ISBN - alternate spelling:
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