Takes a pragmatic approach that features a multicultural focus and places emphasis on effective presentations, and a pedagogical program designed to encourage group activities and skill building. This book provides coverage of pedagogy, and other topics such as sources of on-the-job conflict, how to use informational interviews, and others.
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
Plääh, Onnilla on kamala flunssa! Mutta jokin on silloinkin hauskaa: saa kuumaa kaakaota, kurkkupas-tilleja ja - mikä parasta - saa pelata tietokoneella! Olavista on epäreilua, kun veli on saanut pelata niin paljon. Ja isin päätä kuumottaa liiasta pelaamisesta. Välillä leikitään ulkonakin ja pelataan shakkia. Olaville uusi tietokonepeli on liian jännä, Onnin mielestä taas muissa perheissä saa pelata enemmän. Veljekset kinastelevat ja lapset istuisivat aina tietokoneen ääressä.
Äiti haluaisi heittää koko pelin parvekkeelta alas. Sitten isi uskoo keksivänsä ratkaisun pelaami-seen! Toimiiko se?
Confined to Black Adam’s castle since her arrival on Earth, Kara Zor-el remains ignorant of events going on in the rest of the world.
Damian Wayne—visiting Khandaq in an attempt to recruit Black Adam to Ra’s al Ghul’s cause—decides a flight around the world is just what she needs. But when they land in the middle of a Civil War, will it prematurely reveal the presence of Supergirl on Earth?
Emily was still a virgin as high school ended. She was desperately jealous of her new friend Tara, who was blonde, lithe and adventurous. She was a boring girl, shy and not overly adventurous. But she was determined that change. She joined Emily skinny dipping in her penthouse pool, nearly drowning when Tara's father came home unexpectedly. But that initial humiliation turned to a dark sense of hunger as her fantasies took hold, and soon she was all-but giving herself to the man! Mister Patrick, however, was a stern man, and she soon learned to her thrilled if timid delight, that he could make her body burn like nothing she had ever imagined! At the same time, he put her in a collar and demanded full obedience from her! Then his son Tod did the same, and finally she was Tara's toy as well! Emily was to find her adventure a complicated one, with only one certainty; she must obey and please others with her body, or be punished!
A beautifully illustrated survey of African American art of the twentieth century, including many never-before-seen works by the most important artists of the period. African American Art presents a powerful selection of paintings, sculpture, prints, and photographs by forty-three black artists who explored the African American experience of the twentieth century. Embracing many universal themes and also evoking specific aspects of the African American experience such as the African diaspora, jazz, and the power of religion, the artists worked in styles as varied as documentary realism, abstraction, and postmodern assemblage of found objects. Drawn entirely from the Smithsonian American Art Museum’s rich collection of African American art, the works include paintings by Benny Andrews, Jacob Lawrence, Thornton Dial Sr., Romare Bearden, Alma Thomas, and Lois Mailou Jones, and photographs by Roy DeCarava, Gordon Parks, Roland Freeman, Marilyn Nance, and James Van Der Zee.
More than half of the artworks in the exhibition are being shown for the first time. In Richard Powell’s text, his usual keen insights into meaning and metaphor enrich the reader’s understanding of the artworks in their historical setting and contemporary culture.