24 Results for : zakia
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Trapped , Hörbuch, Digital, ungekürzt, 117min
Trapped is the story of a single mother trying her best to raise three kids on her own, the best way that she can, while trying to manage some sort of a love life for herself. Trapped is the first installment in this series of books that will take you through the trials and tribulations of Zakia, a young woman who was on her way down a very dark and destructive path.Kia tries her best to turn things around and become that strong example for her kids as to how they should live their lives. As Kia tries to change her own and her kids' lives for the better, she's constantly bombarded by changes and situations that threaten to take away her sanity.Kia thinks she's strong enough to handle anything - but some things that happen to her make her wonder how strong she really is....From KareemThis Trapped series might easily be my best work to date. Every character has a purpose in the story and most will be connected to the big picture of the story when everything is said and done. You may not be able to see how instrumental the character is to the story at first glance, but believe me, by the time the story wraps up - you will see! As the series progresses, I think you will be surprised by how well everyone and everything connects! ungekürzt. Language: English. Narrator: J. J. Travis. Audio sample: https://samples.audible.de/bk/acx0/089525/bk_acx0_089525_sample.mp3. Digital audiobook in aax.- Shop: Audible
- Price: 9.95 EUR excl. shipping
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This Woman's Work
This Woman's Work: Essays on Music is edited by Kim Gordon and Sinéad Gleeson and features contributors Anne Enright, Fatima Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper, Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.Published to challenge the historic narrative of music and music writing being written by men, for men, This Woman's Work seeks to confront the male dominance and sexism that have been hard-coded in the canons of music, literature, and film and has forced women to fight pigeon-holing or being side-lined by carving out their own space. Women have to speak up, to shout louder to tell their story - like the auteurs and ground-breakers featured in this collection, including: Anne Enright on Laurie Anderson; Megan Jasper on her ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.This Woman's Work also features writing on the experimentalists, women who blended music and activism, the genre-breakers, the vocal auteurs; stories of lost homelands and friends; of propaganda and dictatorships, the women of folk and country, the racialised tropes of jazz, the music of Trap and Carriacou; of mixtapes and violin lessons.- Shop: buecher
- Price: 12.99 EUR excl. shipping
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This Woman's Work (eBook, ePUB)
This is a collection of essays by between 18 female writers, writing about exclusively female experiences in music. The instrument makers, the experimentalists, the harmonisers, the avant-garde, the genre-breakers, the pop queens, those on the margins who expose the lack of intersectionality in this industry. For a long time, the narrative of music has been male-centred and hyper-masculine. The purpose of women within it was to orbit these men: swooning to Elvis, screaming en-masse at Beatles gigs, or trying to get backstage to sleep with the rock bad boys. When women gained visibility in the music of the 1960s, they were - again - allocated specific tropes: backing singer, lone woman in the band, Motown trios singing innocuous love songs. In the 1970s, at the time Kate Bush became the first woman (at just 17) to have a number one with song she'd written herself, the women of punk began to make their voices heard. But many didn't like these acts of assertion; the femaleness, the raging against gender stereotypes, the Amazonian loudness of it all. Joan Jett recalls being knocked over on stage by flying bottles; The Slits were chased and threatened after gigs and their singer Ari Up was stabbed twice. In the 1980s, as hip hop gained prominence, it made room for only a handful of women, while trading in misogynist rhymes, where women could only be hoes, bitches or gold diggers. How were young female rappers of colour to participate when they didn't see themselves represented in that culture? Canons - in literature, film, music - can point relentlessly towards a male compass and women within them can be othered, or exoticised - OR they attempt to own it. To speak up. To shout louder. But sexism is hard-coded in this industry. The term 'A&R man' was an industry standard for years, despite its lack of inclusivity. And what of production greats like Eno, Martin, Quincy Jones? - there is no female producer with that level of name recognition, and this problem is what's at the core of this book. Why the valorisation of men who play music? Why the gendered cul-de-sacs that leaves women marginalised and adrift? Why the constant attempts to be taken seriously as a guitarist, desk engineer or lyricist? There are thousands of women in music whose stories we don't know. Pioneers whose achievements are undervalued, often by virtue of their gender, or because someone else (a man?) took credit for it. Things change. Planets shift. There is more acceptance now, conversely, in a world that is currently seeing rowbacks on feminism, equality and politics. We need to remember the stories of the past, the women who shattered ceilings and kicked in doors, while we lean into a future of new names, new movements, and new ways of thinking about the vast spectrum of women in music. Contributors: 1.Kim Gordon 2.Sinead Gleeson 3.Ottessa Moshfegh 4.Juliana Huxtable 5.Maggie Nelson 6.Rachel Kushner 7.Anne Enright 8.Yiyun Li 9.Dee Barnes 10.Leslie Jamison 11.Emma Dabiri 12.Fatima Bhutto 13.Liz Pelly 14.Jenn Pelly 15.Megan Jasper 16.Simone White 17.Margo Jefferson 18. Zakia Sewell- Shop: buecher
- Price: 7.99 EUR excl. shipping
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