Young Women of Excellence is a National Mentoring Program created by Joyce L. Rodgers and sponsored by the COGIC International Youth Department. The workshop and empowerment tools for young ladies is a manual that offers vital information and methods of application to enhance the physical, mental, financial, educational, and spiritual development of young ladies ages 13-21.
Hundreds of years ago the first temptation to women appeared in the Garden of Eden through the enticement of an apple. Today, to the 21st century woman, the temptation comes through the beguiling charm of her wardrobe. A trip to the Garden of Eden would find that the apple was eaten because of compromise to Eve's character. A trip to the mall today will find that women have not only compromised their character, but their bodies as well as they pull on clothing that is sensual and seductive. Why Wear Those Hoochie Mamma Dresses? is directed to young girls and women, addressing the apparent lack of responsibility in which seductive clothing is worn in our modern day world. Author Martha Cahoon deals with ?fashion flagrance? head-on, not in a ?cram it down your throat? method, but with a whimsical sense of humor grounded in biblical truth. How we dress and present our bodies to the world is a statement of our purity. Since the Garden of Eden, the author of compromise, Satan, has tried to destroy that purity. But the Bible equips us to protect by allowing God to dress us from the inside out, which is reflected not only in our demeanor, but in our selection of fashions as well. The Bible says, ?The King's daughter is all glorious within, her clothing is interwoven with gold.? Read Why Wear Those Hoochie Mama Dresses? to see what the King has in His daughter's wardrobe.
A riveting new science fiction novel from the writer who twice won the Philip K. Dick Award for best SF novel.Bela and Paul, two wild young mathematicians, are friends and roommates, and in love with the same woman, who happens to be Alma, Bela's girlfriend. They fight it out by changing reality using cutting edge math, to change who gets the girl. The contemporary world they live in is not quite this one, but much like Berkeley, California, and the two graduate students are trying to finish their degrees and get jobs. It doesn't help that their unpredictable advisor Roland is a mad mathematical genius who has figured out a way to predict isolated and specific bits of the future that can cause a lot of trouble. . .and he's starting to see monsters in mirrors. Bela and Paul start to mess around with reality, and when that happens, all heaven and hell break loose. Those monsters of Roland's were really there, but who are they? This novel is a romantic comedy with a whole corkscrew of SF twists. At the publisher's request, this title is being sold without Digital Rights Management software (DRM) applied.
What is Hip Hop? Hip hop speaks in a voice that is sometimes gruff, sometimes enraged, sometimes despairing, sometimes hopeful. Hip hop is the voice of forgotten streets laying claim to the high life of rims and timbs and threads and bling. Hip hop speaks in the muddled language of would-be prophets--mocking the architects of the status quo and stumbling in the dark toward a blurred vision of a world made right. What is hip hop? It's a cultural movement with a traceable theological center. Daniel White Hodge follows the tracks of hip-hop theology and offers a path from its center to the cross, where Jesus speaks truth.
Focusing on the variety of genres that make up pop music, Roy Shuker explores key subjects which shape our experience of music such as music production, the music industry, music policy, fans, audiences and subcultures.
Explores the influence of youth culture on transforming mainstream society through innovative cooperative venues and modern "do-it-yourself" values, in a report that reveals what can be learned through the indirect social experiments being performed by today's young artists and entrepreneurs. Reprint.
In 2011, Doing Autoethnography—the first conference to focus solely on autoethnographic principles and practices—was held in chilly Detroit, Michigan on the campus of Wayne State University. The conference has since occurred four additional times (2013, 2014, 2015, 2016). Across the five conferences, thousands of attendees from more than ten countries have participated in hundreds of presentations, more than a dozen workshops, and multiple keynote addresses. The chapters in this collection represent outstanding work from the five conferences. Together, authors interrogate autoethnography ethically, theoretically, relationally, and methodologically. Readers will encounter many overlapping themes: identity norms and negotiations; experiences tied to race, gender, sexuality, size, citizenship, and dis/ability; exclusion and belonging; oppression, injustice, and assault; barriers to learning/education; and living with/in complicated relationships. Some chapters provide clear resolutions; others seemingly provide none. Some authors highlight conventionally positive aspects of experience; others dwell in what might be understood as relational darkness. Some experiences will likely resonate with many readers; others will feel unique, unusual, exceptional. In its entirety, the collection will take readers on an evocative, reflexive, and insightful journey.
In Shapeshifters Aimee Meredith Cox explores how young Black women in a Detroit homeless shelter contest stereotypes, critique their status as partial citizens, and negotiate poverty, racism, and gender violence to create and imagine lives for themselves. Based on eight years of fieldwork at the Fresh Start shelter, Cox shows how the shelter's residents—who range in age from fifteen to twenty-two—employ strategic methods she characterizes as choreography to disrupt the social hierarchies and prescriptive narratives that work to marginalize them. Among these are dance and poetry, which residents learn in shelter workshops. These outlets for performance and self-expression, Cox shows, are key to the residents exercising their agency, while their creation of alternative family structures demands a rethinking of notions of care, protection, and love. Cox also uses these young women's experiences to tell larger stories: of Detroit's history, the Great Migration, deindustrialization, the politics of respectability, and the construction of Black girls and women as social problems. With Shapeshifters Cox gives a voice to young Black women who find creative and non-normative solutions to the problems that come with being young, Black, and female in America.
This is a critical, cultural study of radical sexual politics in a contemporary Hip-Hop lyricism -- what the author refers to as Hip-Hop’s "QUEEN B@#$H’ lyricism.”
A concise yet comprehensive account of the origins and evolution of rock music, emphasizing its interaction with social change and cultural trends. The narrative begins with ``the birth of the blues'' and proceeds to discuss the major (and mention the minor) performers and to identify the significant styles. These include Fifties rockabilly, folk/protest, the British Invasion, acid rock, punk/New Wave, and Eighties revivalism. Using a lively, anecdotal approach and pertinent quotes, the author examines the appropriate political, economic, technological, or psychological context of each topic, e.g., the relationship between Dylan's music and JFK's New Frontier. A primary focus throughout is on the contributions of blacks and the role of racism. Paul Feehan, Univ. of Miami Lib., Coral Gables, Fla. - Library Journal.
