Real and raw, Dance Because You Can: 5 Steps to Transform Trauma into Triumph details five steps to creating your own "Victory Dance" of life. Inspired by real-life stories, including her own experiences of thriving through severe chronic illness, author Amy Jordan speaks to other women trying to rebuild their lives after trauma and while dealing with PTSD. In Dance Because You Can, Jordan uses her vast knowledge from dancing and choreographing for some of the entertainment industry's most respected artists to help readers construct a solid blueprint on how to navigate through pretty much any obstacle in life and be happy.
Includes the decisions of the Supreme Courts of Missouri, Arkansas, Tennessee, and Texas, and Court of Appeals of Kentucky; Aug./Dec. 1886-May/Aug. 1892, Court of Appeals of Texas; Aug. 1892/Feb. 1893-Jan./Feb. 1928, Courts of Civil and Criminal Appeals of Texas; Apr./June 1896-Aug./Nov. 1907, Court of Appeals of Indian Territory; May/June 1927-Jan./Feb. 1928, Courts of Appeals of Missouri and Commission of Appeals of Texas.
In recent decades, male bisexuality has become a recurring topic in international cinema, as filmmakers and their works challenge our ideas about sexual freedom and identity. In all of these films, more than a dozen of which are covered here, bisexuality is treated both as an actual practice and a complex metaphor for a number of things, including the need to adapt to changing environments, the questioning of rigidly traditional male roles and identities, the breakdown and regeneration of the structures of families, the limitations of monogamy, and the stubborn affirmation of romantic love.
A radical reinterpretation of "Attica," the revolutionary 1970s uprising that galvanized abolitionist movements and transformed prisons. Tip of the Spear boldly and compellingly argues that prisons are a domain of hidden warfare within US borders. With this book, Orisanmi Burton explores what he terms the Long Attica Revolt, a criminalized tradition of Black radicalism that propelled rebellions in New York prisons during the 1970s. The reaction to this revolt illuminates what Burton calls prison pacification: the coordinated tactics of violence, isolation, sexual terror, propaganda, reform, and white supremacist science and technology that state actors use to eliminate Black resistance within and beyond prison walls. Burton goes beyond the state records that other histories have relied on for the story of Attica and expands that archive, drawing on oral history and applying Black radical theory in ways that center the intellectual and political goals of the incarcerated people who led the struggle. Packed with little-known insights from the prison movement, the Black Panther Party, and the Black Liberation Army, Tip of the Spear promises to transform our understanding of prisons—not only as sites of race war and class war, of counterinsurgency and genocide, but also as sources of defiant Black life, revolutionary consciousness, and abolitionist possibility.
Lately, the lively, often unruly, and occasionally dangerous Schraft Street in Boston has become Jim Herlihy's entire world. As he struggles to eke a meager existence from the small assets he owns-a neighborhood gym, local sports bar, and a renovated old three-decker- his challenges are compounded because the love of his life is in love with someone else, and his troubled young tenant, stripper Amy Jordan, for whom he has developed a powerful brotherly affection, is in love with him. After a few contentious run-ins with notorious local gangster Hoary Harry Annunzio-who seriously worries Jim when he drunkenly threatens to rape little Amy-his friend and local cop Carlton Carrollton jokingly suggests Jim consider a preemptive strike against Harry. And then when Harry is unexpectedly found brutally beaten to death, the cops and especially two rival gangsters very seriously want to know who did it. Wild rumors are circulating in this suddenly dangerous, self-contained little world, and Jim finds himself a suspect, despite his reputation as a sane, hardworking, and normally very good-natured businessman. Something's gotta give-and the inside neighborhood dope does include that Jim Herlihy can be a very tough customer when absolutely necessary. In this entertaining murder mystery, a gritty Boston neighborhood and its hardcore boss are thrust in the midst of madness as a killer waits to strike again.
Providing an expansive view of the making and meaning of African American conservatism, this volume examines the phenomenon in four spheres: the political realm, the academic world, the black church, and grass-roots activism movements. In his analysis of their activities in these realms, Louis Prisock examines the challenges African American conservatives face as they operate within the context of (largely white) conservatism. At the same time that African American conservatives challenge the white conservative movement’s principle of “color blindness,” they are accused of being “racial mascots,” or “tokens” from those outside of it. Prisock unwinds the intricacies of black conservatives’ relationships to both the wider conservative movement and the everyday life experiences of black Americans, showing that they are as vulnerable to the “inescability of race” as any other individual in a racialized America.
Coined in the early 1990s to describe a burgeoning film movement, 'New Queer Cinema' has turned the attention of film theorists, students and audiences to the proliferation of intelligent, stylish and daring work by lesbian and gay filmmakers within independent cinema, and to the proliferation of 'queer' images and themes within the mainstream. But what constituted New Queer Cinema then and now? And was it political gains, cultural momentum or market forces that determined its evolution? New Queer Cinema is divided into sections on the definition, the filmmakers, the geography, and the spectator of New Queer Cinema. Chapters address the pivotal directors (e.g. Todd Haynes and Gregg Araki) and the salient films (e.g. Paris is Burning and Boys Don't Cry) but also non-mainstream and non-Anglo-American work (e.g. experimental film and third cinema). With a critical eye to its uneasy relationship to the mainstream, the volume explores the aesthetic, socio-cultural, political and, necessarily, commercial investments of New Queer Cinema. This book, the first full-length study of the subject, offers the definitive guide to New Queer Cinema combining indispensable discussions of its central issues with exciting new work by key writers. Features*Provides a definitive introduction to New Queer Cinema (NQC)*Clear structure with each section addressing a key topic in the study of NQC*Themes covered include genre, gender and race, politics, media, and the relationship between NQC and the mainstream.
