Betty gets an opportunity to see how students in the Golden State live when a student exchange program sends her to California! Unlike Riverdale High, glitzy Beverly Hills High feels more like a movie than a high school, with students decked out in the latest fashions, shades, and accessories. Betty trains for the track team with her new friend Olympia and gets to see some of the sights, including Rodeo Drive. All we can say is: Veronica Lodge, eat your heart out!
It's a fairy tale with double vision as Betty and Veronica cast themselves in a "A Tale of Two Cinderellas" as Cinderbetty and Cinderonica! Who will win Prince Archibald's heart? Then, Betty & Veronica become the "Action Faction," going full steam ahead to help local businesses. Meanwhile, Betty and Veronica must work together to fend off bike chicks hailing Archie as their hero for turning "The Riverdale Express" railroad tracks into a bike trail. PLUS: Other new and classic tales!
In this history, Helen C. Roundtree traces events that shaped the lives of the Powhatan Indians of Virginia, from their first encounter with English colonists, in 1607, to their present-day way of life and relationship to the state of Virginia and the federal government. Roundtree’s examination of those four hundred years misses not a beat in the pulse of Powhatan life. Combining meticulous scholarship and sensitivity, the author explores the diversity always found among Powhatan people, and those people’s relationships with the English, the government of the fledgling United States, the Union and the Confederacy, the U.S. Census Bureau, white supremacists, the U.S. Selective Service, and the civil rights movement.
In Grime, Glitter, and Glass, Nikki A. Greene examines how contemporary Black visual artists use sonic elements to refigure the formal and philosophical developments of Black art and culture. Focusing on the multimedia art of Renée Stout, Radcliffe Bailey, and María Magdalena Campos-Pons, Greene traces the intersection of the visual’s sonic possibilities with the Black body’s physical, representational, and metaphorical use in art. She employs her concept of “visual aesthetic musicality” to interpret Black visual art by examining the musical genres of jazz and rap along with the often-overlooked innovations of funk and rumba within art historiography. From Bailey’s use of multilayered surfaces of glitter, mud, and recycled materials to meditate on Sun Ra’s Afrofuturism to Stout’s life-sized cast of her own body that recalls funk musician Betty Davis to Campos-Pons’s performative and sculptural references to sugar that resonate with the legacy of Celia Cruz, Greene outlines how these artists use mediums such as molded glass sculptures, viscous wet plaster, and dazzling manikin heads to enhance the manifestations of Black identity. By foregrounding the sonic elements of their work, Greene demonstrates that these artists use sound to make themselves legible, recognizable, and audible.
There really are women who are less than good mothers. However, during the past quarter century, the definition of bad mother has changed with changing lifestyles and changes to the family structure. Mothers today are blamed for a host of problems. Drawing together the work of prominent scholars and journalists, and individual cases, BAD MOTHERS marks an important contribution to the literature on motherhood.
