In this time where children are fighting the battles of low self esteem and self worth, this book will be the equivalent to a refreshing glass of water to those who are thirsty or a breath of fresh air to those who need to breathe. It is my hope that this book will rekindle the fire of a declining American art form. This book is about healing. It contains essays, poems, and insights into dance and it works in a powerful effective way to change the quality of the individual's life experience for the better. Through dance, individuals can display pride, self-expression, and identity. For the students of Dr. E. Alma Flagg School, the history of Modem dance will speak to them personally, as well as culturally. A dance would look quite different without the influence of the African and Latin contribution. Throughout history we have discovered how dance has enabled people to communicate their thoughts and ideas and provide comfort in times of sorrow and misery. I Dance Because.... Is a gift of comfort, peace, hope and inspiration. Page by page you will feel the passion and heartfelt thoughts as dancers describe the reasons they dance. Mrs. Pope has enlisted the talents of many individuals, from many different places to speak to one thing that they all love, DANCING!! She serves as a teacher truly committed towards the promotion of her students as well as her art form. In a short time, I have witnessed her transform some of the most challenging students into individuals who believe in themselves and work diligently to meet her approval. She is truly an asset to our school and I applaud her efforts in compiling this extensive volume of information to motivate the next generations of dancers. Roy T. Wilson Principal Dr. E. Alma Flagg School

Analyses stories about Africa in the American media. This book looks at bias and content in coverage of subjects such as the Algerian war of independence and US food aid in Africa and also looks at the portrayal of race, tribalism and nationalism.

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Experience music history with this memoir by one of the last of the genuine old school Blues and R&B legends, the Grammy-winning dynamic showman Bobby Rush. This memoir charts the extraordinary rise to fame of living blues legend, Bobby Rush. Born Emmett Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. As a teenager, Rush acquired his first real guitar and started playing in juke joints in Little Rock, Arkansas, donning a fake mustache to trick club owners into thinking he was old enough to gain entry. He led his first band in Arkansas between Little Rock and Pine Bluff in the 1950s. It was there he first had Elmore James play in his band. Rush later relocated to Chicago to pursue his musical career and started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed and Little Walter. Rush eventually began leading his own band in the 1960s, crafting his own distinct style of funky blues, and recording a succession of singles for various labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album which went on to be listed in the Top 10 blues albums of the 1970s by Rolling Stone and a handful of regional jukebox favorites including "Sue" and "I Ain't Studdin' Ya." And Rush's career shows no signs of slowing down now. The man once beloved for performing in local jukejoints is now headlining major music/blues festivals, clubs, and theaters across the U.S. and as far as Japan and Australia. At age eighty-six, he is still on the road for over 200 days a year. His lifelong hectic tour schedule has earned him the affectionate title "King of the Chitlin' Circuit," from Rolling Stone. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and his ribald sense of humor. He was featured in Martin Scorcese's The Blues docuseries on PBS, a documentary film called Take Me to the River, performed with Dan Aykroyd on The Tonight Show Starring Jimmy Fallon, and most recently had a cameo in the Golden Globe nominated Netflix film, Dolemite Is My Name, starring Eddie Murphy. He was recently given the highest Blues Music Award honor of B.B. King Entertainer of the Year. His songs have also been featured in TV shows and films including HBO's Ballers and major motion pictures like Black Snake Moan, starring Samuel L. Jackson. Considered by many to be the greatest bluesman currently performing, this book will give readers unparalleled access into the man, the myth, the legend: Bobby Rush.

Addressing the controversial issues of the blurring boundaries between news and entertainment and the movement toward sensationalism in broadcast journalism, this study examines these distinctions: how boundaries are constructed and by whom; how they are enforced or broken and why. Rather than reflecting essential attributes by which news can be distinguished from other kinds of communication, boundary setting is viewed as a social construction, determined and changed by journalists wishing to assert their jurisdiction and authority and the prestige of the profession. Four instances of boundary-work rhetoric are examined in depth: (1) the development of roles and rules of television journalism during the early years of television; (2) attempts at Congressional and FTC regulation—broadcasting codes defining bona fide news; (3) responses to a 1992 journalistic scandal over a Dateline NBC story on exploding GM pickup trucks, and (4) reporting sex scandals during recent political campaigns, such as the allegations of Gennifer Flowers of her involvement with Bill Clinton. In these and other cases, journalists developed strategies to minimize harm to the profession.