At twenty-seven, Shannon Murphy has just discovered that she has two sisters she never knew. Now, through Shannon’s loving persistence, the three of them are moving in together above her dance studio in Bridgeport. Shannon is excited to make a home with her sisters and to grow her budding business. Then she meets her newest client—he has all the right muscles, a perfect smile, and a lot of attitude. Will Shannon be able to keep things professional with this charming stranger? Dylan Lange has a lot on his mind. He’s just been assigned a new partner at his job with the Bridgeport Police, and while he’s busy striving to protect and serve his town, he’s also trying to keep his baby sister out of harm’s way while she heals from her own trauma. And on top of everything else, he’s gone and lost a bet with his buddies, forcing him to take dance lessons. But when he walks into the dance studio to meet his instructor, a young and beautiful brunette with a sweet southern drawl is the last person he expected to find. Get ready to fall in love again as Shelley Shepard Gray takes us back to Bridgeport, Ohio, where nobody gets left behind and a powerful community helps ordinary men and women to find extraordinary strength inside themselves.

Portraits of Native American master dancers come alive in words and pictures.

In her long-awaited new collection, the Colt Peacekeeper of American political humor draws a bead on targets that range from the Libido-in-Chief to Newt Gingrich, campaign funny-money to the legislative lunacy of her native Texas--and hits a bull's-eye every time. Whether she's writing about Bill Clinton ("The Rodney Dangerfield of presidents"), Bob Dole ("Dole contributed perhaps the funniest line of the year with his immortal observation that tobacco is not addictive but that too much milk might be bad for us. The check from the dairy lobby must have been late that week"), or cultural trends ("I saw a restaurant in Seattle that specialized in latte and barbecue. Barbecue and latte. I came home immediately"), Molly takes on the issues of the day with her trademark good sense and inimitable wit.

Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.

On the eve of the Great War, they had the world at - and watching - their feet. If God is in the details, they were divine.Vernon and Irene Castle were the world's first true celebrity couple. He, an Englishman, was tall and slim, as poised as an elegant evening out, a template for the Hollywood idols who would follow. In a staid age, she, a New Yorker, was a glorious, modern beauty, with her haired cropped into a 'shock', a disdain for crippling corsets, a love of a martini and a good time.Together, they beat the censors and made their vibrant dancing acceptable for all. In the fashionable quarters of New York they opened a dance school and night clubs to which Society flocked. They broke the rules by touring with black musicians, and led the way forward to the Charleston-galloping Gatsby Generation. They enlightened and enchanted from London to Paris to New York, spreading a breathless joy, as though their music had one note, and their dances one step, too many. Launching one racy dance craze after another, they taught the world to dance - and often dress - the way we do today. Adored and acclaimed, they were stars long before the celebrity constellations grew crowded.Yet the whirlwind story of perhaps the most influential dance team ever is also one of tragedy. Their timing, so perfect in everything else, saw Vernon Castle, at the height of their fame, return to England to enlist in the Royal Flying Corps; he saw action as a pilot on the Western Front, winning the Croix de Guerre, while his wife made special appearances to support the Allied war effort. And then, in February 1918, he was killed in a flying accident in Texas, while training American pilots for war. Irene received a last note from him: 'When you receive this letter I shall be gone out of your sweet life. You may be sure that I died with your sweet name on my lips... be brave and don't cry, my angel.'She and many others did cry, for as far as the world was concerned Vernon and Irene Castle could have danced all night, and for ever.'The afternoon was already planned; they were going dancing - for those were the great days: Maurice was tangoing in "Over the River", the Castles were doing a stiffed-leg walk in the third act of the 'Sunshine Girl' - a walk that gave the modern dance a social position and brought the nice girl into the café, thus beginning a profound revolution in American life. The great rich empire was feeling its oats and was out for some not too plebeian, yet not too artistic fun.' - F. Scott Fitzgerald, 'The Perfect Life', one of the Basil and Josephine Stories, first published in the Saturday Evening Post, 5 January 1929.

Living with Aspergers can be a difficult and challenging time for all who live in your home. It may also be hard for those on the outside looking in, and to have understanding. My son has AS, together we have wrote this book to give a better understanding of what a day is like having, as well as living with AS. In our home, we try to make it as "Simple" as we can. It is not always an easy task, but we try. Come and share in our lives, as we share our story with you. There are days as the parent (caregiver) that we feel as if we are alone. You are never alone...

This book is the first scholarly study of Indian dance reality shows and the attendant celebrity culture. It presents an ethnographic and behind-the-scenes study of the lives of reality show dancers and choreographers in obscure and well-known corners of Mumbai and Kolkata. The dancers’ classes, rehearsals, aspirations, and voices—which are often hidden from public gaze—are explored in detail, along with the themes of subjectivity, media-embodiment, pedagogy, gender identity, and social mobility. These explorations are framed by new and original intersections of ideas from the fields of anthropology, dance studies, philosophy, media studies, gender studies, and postcolonial theory. The author offers fascinating, multi-layered analyses into cosmopolitan modernity and the changing visual culture of liberalizing India. Using the lens of dance and dancers, this book offers deep insights into some of the most profound changes taking place in Indian culture today.