Never stop dancing - stay young forever! 6 x 9 journal notebook for the eternally young They put the rest of us to shame with their limitless energy Never get 'em up to dance at a party...if you want to sit back down! Sweet gift for the young at heart.

She was a girl with a dream. Her dream was to be a dancer. There were challenges and obstacles. Did her dreams come true? Did she defy the odds and become a dancer?

In Dr. Gordon Livingston's follow-up to his national bestseller Too Soon Old, Too Late Smart, he offers thirty more true things we need to know now. Among the fresh truths he identifies and explores in this book, which has sold more than 50,000 copies in hardcover, are: Paradox governs our lives. Forgiveness is a gift we give ourselves. Marriage ruins a lot of good relationships. We are defined by what we fear. We all live downstream. One of life's most difficult tasks is to see ourselves as others see us. As we grow old, the beauty steals inward. Most people die with their music still inside of them. Dr. Livingston's sterling qualities are in evidence again: a clear and deep understanding of the hidden hypocrisies, desires, evasions, and emotional tumult that course through our lives; an unerring sense of what is important; and his own ability to persevere-to hope-in a world he knows is capable of inflicting unjustifiable and lifelong suffering.

A series of interviews with some of the foremost dancers in twentieth-century ballet, Never Far from Dancing reflects on the paths that their careers have taken since they retired from the stage. Barbara Newman has expertly edited each of her interviews to read as a monologue, addressing every aspect of ballet, from its styles and technical demands to its personalities, its celebrated roles and, most of all, to what happens when the dancing stops. While ballet invites all manner of writing from critics, admirers and academics, the thoughts and experiences of the dancers themselves are seldom recorded. Here, those who scaled the heights of their art hand down their wisdom and recount lives spent in this most enduring of art forms.

During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill’s Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada’s Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.

Don't Stop Dancing: My Story of Tragedy, Loss, Addiction, and Darkness, and the Discovery That Healed My Soul, will take readers of every age and demographic on an emotional rollercoaster of a ride, and show readers why we should never take anything for granted, and will remind us of the unlimited potential that exists within us all.

“The chapbook is about the experience of being in a mental hospital although it could have been about being in any kind of prison. The specifics are here, and it is well written.” —Judy Hogan, Motheroot Journal

From prizewinning journalist and Brazilian native Juliana Barbassa comes a deeply reported and beautifully written account of the seductive and chaotic city of Rio de Janeiro as it struggles with poverty and corruption on the brink of the 2016 Olympic Games. Juliana Barbassa moved a great deal throughout her life, but Rio was always home. After twenty-one years abroad, she returned to find her native city—once ravaged by inflation, drug wars, corrupt leaders, and dying neighborhoods—undergoing a major change. Rio has always aspired to the pantheon of global capitals, and under the spotlight of the 2014 World Cup and the 2016 Olympic Games it seems that its moment has come. But in order to prepare itself for the world stage, Rio must vanquish the entrenched problems that Barbassa recalls from her childhood. Turning this beautiful but deeply flawed place into a pristine showcase of the best that Brazil has to offer in just a few years is a tall order—and with the whole world watching, the stakes couldn’t be higher. Library Journal called Dancing with the Devil in the City of God “akin to Charlie LeDuff’s Detroit”—a book that “combines history and personal interviews in an informative and engaging work.” This kaleidoscopic portrait of Rio introduces the reader to the people who make up this city of extremes, revealing their aspirations and their grit, their violence, their hungers, and their splendor, and shedding light on the future of this city they are building together. Dancing with the Devil in the City of God is an insider perspective from a native daughter and “a fascinating look at the people who live in and aspire to change one of the world’s most impressive cities” (Booklist, starred review).

In her first novel for young adults, New York Times best-selling author Liz Kessler tells a story about finding a kindred spirit and becoming your true self. Ashleigh Walker is a mediocre student with an assortment of friends, a sort-of boyfriend, and no plans for the future. Then a straight-from-college English teacher, Miss Murray, takes over Ash’s class and changes everything. Miss Murray smiles a lot. She shares poetry with curse words in it. She’s, well, cool. And she seems to really care about her students. About Ashleigh. For the first time, Ash feels an urge to try harder. To give something — someone — her best. Before she knows it, Ashleigh is in love. Intense, heart-racing, all-consuming first love. It’s strong enough to distract her from worrying about bad grades and her parents’ marriage troubles. But what will happen if Miss Murray finds out Ashleigh is in love with her?