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Rock music --- Rock musicians --- History and criticism --- Cavern (Nightclub : Liverpool, England)
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Impresarios --- Josephson, Barney. --- Café Society (Nightclub) --- Greenwich Village (New York, N.Y.) --- Social life and customs
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Pulse, 12 juin 2016. Quarante-neuf morts sur la piste d’un night-club de Floride. Quarante-neuf garçons et filles qui voulaient seulement danser, abattus pour avoir commis le crime d’être homosexuels. Tous ne l’étaient pas, d’ailleurs, mais tous étaient coupables selon le meurtrier, qui a cette nuit-là perpétré le premier assassinat homophobe de masse de l’histoire.Quelques heures plus tard, Philippe Corbé est allé à Orlando. Mélangeant à son récit des souvenirs de jeunesse, il rappelle les prêches criminels, les tyrans de cours de récré, les ferme ta grosse gueule pédale, les hargneux, tous ceux qui veulent écraser les espoirs de bonheur, à commencer par ces lieux tranquilles, d’Orlando à Paris, de Sydney à Beyrouth, des abris pour retrouver ses semblables, se retrouver chez soi. Et c’est bien pour cela qu’ils sont menacés, les battements de cœur dérangent. Sous les pulsations de la musique couvent les pulsations de la haine.
Gay people --- Pulse Nightclub Shooting, Orlando, Fla, 2016 --- Homophobia --- Muslim gay people
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The “after-hours club” is a fixture of the African American ghetto. It is a semisecret, unlicensed “spot” where “regulars” and “tourists” mingle with “hustlers” to buy and use drugs long after regular bars are closed and the party has ended for the “squares.” After-hours clubs are found in most cities, but for people outside of their particular milieu, they are formidably difficult to identify and even more difficult to access.The sociologist Terry Williams returns to the cocaine culture of Harlem in the 1980s and ’90s with an ethnographic account of a club he calls Le Boogie Woogie. He explores the life of a cast of characters that includes regulars and bar workers, dealers and hustlers, following social interaction around the club’s active bar, with its colorful staff and owner and the “sniffers” who patronize it. In so doing, Williams delves into the world of after-hours clubs, exploring their longstanding function in the African American community as neighborhood institutions and places of autonomy for people whom mainstream society grants few spaces of freedom. He contrasts Le Boogie Woogie, which he visited in the 1990s, with a Lower East Side club, dubbed Murphy’s Bar, twenty years later to show how “cool” remains essential to those outside the margins of society even as what it means to be “cool” changes. Le Boogie Woogie is an exceptional ethnographic portrait of an underground culture and its place within a changing city.
African Americans --- Le Boogie Woogie (Nightclub) --- History. --- Harlem (New York, N.Y.) --- New York (N.Y.) --- Social life and customs
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Autobiografie --- Autobiographie --- Autobiography --- 816 --- Jazz en lichte muziek - Essays --- Entertainers --- Performers --- Performing artists --- Show business personalities --- Show-men --- Artists --- Village Vanguard (Nightclub) --- Jazz musicians --- United States --- Biography
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The social connotation of jazz in American popular culture has shifted dramatically since its emergence in the early twentieth century. Once considered youthful and even rebellious, jazz music is now a firmly established American artistic tradition. As jazz in American life has shifted, so too has the kind of venue in which it is performed. In Jazz Places, Kimberly Hannon Teal traces the history of jazz performance from private jazz clubs to public, high-art venues often associated with charitable institutions. As live jazz performance has become more closely tied to nonprofit institutions, its relationship to its own heritage has become increasingly important, serving as a means of defining jazz as a social good worthy of charitable support. Though different jazz spaces present jazz and its heritage in various and sometimes conflicting terms, ties to the past play an important role in defining the value of present-day music in a diverse range of jazz venues, from the Village Vanguard in New York to SFJazz on the West Coast to Preservation Hall in New Orleans.
Jazz --- History and criticism. --- Social aspects --- History. --- Instruction and study --- Village Vanguard (Nightclub) --- Jazz at Lincoln Center (Organization) --- SFJAZZ (Organization) --- Preservation Hall (New Orleans, La.)
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The “after-hours club” is a fixture of the African American ghetto. It is a semisecret, unlicensed “spot” where “regulars” and “tourists” mingle with “hustlers” to buy and use drugs long after regular bars are closed and the party has ended for the “squares.” After-hours clubs are found in most cities, but for people outside of their particular milieu, they are formidably difficult to identify and even more difficult to access.The sociologist Terry Williams returns to the cocaine culture of Harlem in the 1980s and ’90s with an ethnographic account of a club he calls Le Boogie Woogie. He explores the life of a cast of characters that includes regulars and bar workers, dealers and hustlers, following social interaction around the club’s active bar, with its colorful staff and owner and the “sniffers” who patronize it. In so doing, Williams delves into the world of after-hours clubs, exploring their longstanding function in the African American community as neighborhood institutions and places of autonomy for people whom mainstream society grants few spaces of freedom. He contrasts Le Boogie Woogie, which he visited in the 1990s, with a Lower East Side club, dubbed Murphy’s Bar, twenty years later to show how “cool” remains essential to those outside the margins of society even as what it means to be “cool” changes. Le Boogie Woogie is an exceptional ethnographic portrait of an underground culture and its place within a changing city.
Social sciences (general) --- African Americans --- Le Boogie Woogie (Nightclub) --- History. --- Harlem (New York, N.Y.) --- New York (N.Y.) --- Social life and customs
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The definitive book on The Station nightclub fire on the 10th anniversary of the disaster
Fires --- Nightclubs --- Buildings --- Conflagrations --- Fire losses --- Accidents --- Disasters --- Fire --- Clubs (Nightclubs) --- Clubs, Night --- Night clubs --- Night spots --- Nightspots --- Hospitality industry --- Fires and fire prevention --- Great White (Musical group) --- Station (Nightclub : West Warwick, R.I.) --- Fire, 2003.
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If I can inspire more people to be better human beings, to reach more goals, to treasure their loved ones more, then I will have achieved something real and powerful and positive. And maybe that's why I survived. - Phil Britten *** Phil Britten, a 22-year-old captain of the Kingsley Football Club and an Australian Football League hopeful, was on holiday in Bali with his teammates when terrorists bombed the Sari Club on October 12, 2002. Although he escaped, Phil's injuries were life-threatening, with burns to 60% of his body. Grateful to be alive, Phil began tough physical rehabilitation and,
Victims of terrorism --- Bali Bombings, Kuta, Bali, Indonesia, 2002 --- Bali Nightclub Bombings, Kuta, Bali, Indonesia, 2002 --- Paddy's Pub Bombing, Kuta, Bali, Indonesia, 2002 --- Sari Club Bombing, Kuta, Bali, Indonesia, 2002 --- Bombings --- Terrorism victims --- Victims of crimes --- Britten, Phil,
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