Eager to follow in his father's footsteps, Ramon Hill wants nothing more than to be a starting attacker on his lacrosse team. But his dreams don't go as planned, and he's moved to a different position. Playing as a midfielder lets Ramon put his skills and talent to best use, but he can't help but feel disappointed. Will his new position lead to bigger and better things for him and his team?

Young fiends will love using the stickers to dress all sorts of spooky characters, from the wicked Count Dracula to an army of killer zombies. With over 200 reusable stickers of clothes and accessories, this activity book can be enjoyed time and time again. Warning: may cause screams and shivers of fright...

Karate is the most important thing in Aliyah's life. It allows her to fight - and she's good at that. It also makes her feel like a winner. Nothing is more important to Aliyah than taking down an opponent, especially if it's her main rival, Suma. Things soon change with the arrival of a new student, Zoya, who also happens to be Suma's little sister. Aliyah sees something familiar in Zoya - an anger and aggression that reminds Aliyah of herself. Upon the request of Suma, and with the approval of the sensei, Aliyah agrees to train Zoya. Through their training, she helps Zoya control her anger but also manages to learn a valuable lesson of her own - winning isn't everything.

When many people think of African music, the first ideas that come to mind are often of rhythm, drums, and dancing. These perceptions are rooted in emblematic African and African-derived genres such as West African drumming, funk, salsa, or samba and, more importantly, essentialized notions about Africa which have been fueled over centuries of contact between the "West," Africa, and the African diaspora. These notions, of course, tend to reduce and often portray Africa and the diaspora as primitive, exotic, and monolithic. In Africanness in Action, author Juan Diego Diaz explores this dynamic through the perspectives of Black musicians in Bahia, Brazil, a site imagined by many as a diasporic epicenter of African survivals and purity. Black musicians from Bahia, Diaz argues, assert Afro-Brazilian identities, promote social change, and critique racial inequality by creatively engaging essentialized tropes about African music and culture. Instead of reproducing these notions, musicians demonstrate agency by strategically emphasizing or downplaying them.

When many people think of African music, the first ideas that come to mind are often of rhythm, drums, and dancing. These perceptions are rooted in emblematic African and African-derived genres such as West African drumming, funk, salsa, or samba and, more importantly, essentialized notions about Africa which have been fueled over centuries of contact between the "West," Africa, and the African diaspora. These notions, of course, tend to reduce and often portray Africa and the diaspora as primitive, exotic, and monolithic. In Africanness in Action, author Juan Diego Diaz explores this dynamic through the perspectives of Black musicians in Bahia, Brazil, a site imagined by many as a diasporic epicenter of African survivals and purity. Black musicians from Bahia, Diaz argues, assert Afro-Brazilian identities, promote social change, and critique racial inequality by creatively engaging essentialized tropes about African music and culture. Instead of reproducing these notions, musicians demonstrate agency by strategically emphasizing or downplaying them.