"A fresh lens for viewing Jacob Lawrence's art: through the perspective of teens of color. . . . An invaluable resource amplifying marginalized teen voices and conveying Lawrence's relevance to their own lives." -Kirkus Reviews In the mid-1950s, as Brown v. Board of Education felled the ideology of "separate but equal," the great African-American artist Jacob Lawrence saw the need for a version of American history that reckoned with its complexities and contradictions yet was shared by all its citizens. The result was his monumental work Struggle . . . from the History of the American People. Lawrence, the best known black American artist of the 20th century, developed the series of thirty panels, each measuring 12 x 16 inches, over the course of two years. Lawrence created the panels as history you could hold in your hands and intended to reproduce the images in a book that he never realized. The paintings depict signal moments in the American Revolution and the early decades of the American republic, and feature the words and actions of founding fathers, enslaved people, women, and Native Americans. In January 2020, the Peabody Essex Museum in Salem, Massachusetts, is mounting the landmark exhibition, Jacob Lawrence: The American Struggle. The show, which unites the panels in one place for the first time in nearly half a century, then travels to the Metropolitan Museum of Art in New York, the Birmingham Museum of Art in Alabama, the Seattle Art Museum, and the Phillips Collection in Washington, D.C., on a two-year national tour. In the spirit of Lawrence's project, this collection includes brief interpretive texts written by teens in response to the Struggle series. This illustrated book features a chorus of thirty singular young adult voices expressing how Lawrence and his Struggle series speaks to them on a personal, emotional level. The young writers come from a broad variety of races and ethnicities, nationalities, religions, genders, sexualities, and abilities, and underrepresented voices. As Jacob Lawrence mined American history to reflect upon events he saw happening around him in segregation-era America, these young adults use these panels to comment on their experiences in today's America.

Despite George W. Bush's professed opposition to big government, federal spending has increased under his watch more quickly than it did during the Clinton administration, and demands on government have continued to grow. Why? Lawrence D. Brown and Lawrence R. Jacobs show that conservative efforts to expand markets and shrink government often have the ironic effect of expanding government's reach by creating problems that force legislators to enact new rules and regulations. Dismantling the flawed reasoning behind these attempts to cast markets and public power in opposing roles, "The Private Abuse of the Public Interest" urges citizens and policy makers to recognize that properly functioning markets presuppose the government's ability to create, sustain, and repair them over time.The authors support their pragmatic approach with evidence drawn from in-depth analyses of education, transportation, and health care policies. In each policy area, initiatives such as school choice, deregulation of airlines and other carriers, and the promotion of managed care have introduced or enlarged the role of market forces with the aim of eliminating bureaucratic inefficiency. But in each case, the authors show, reality proved to be much more complex than market models predicted. This complexity has resulted in a political cycle - strikingly consistent across policy spheres - that culminates in public interventions to sustain markets while protecting citizens from their undesirable effects. Situating these case studies in the context of more than two hundred years of debate about the role of markets in society, Brown and Jacobs call for a renewed focus on public-private partnerships that recognize and respect both sectors' vital - and fundamentally complementary - roles.

Despite George W. Bush's professed opposition to big government, federal spending has increased under his watch more quickly than it did during the Clinton administration, and demands on government have continued to grow. Why? Lawrence D. Brown and Lawrence R. Jacobs show that conservative efforts to expand markets and shrink government often have the ironic effect of expanding government's reach by creating problems that force legislators to enact new rules and regulations. Dismantling the flawed reasoning behind these attempts to cast markets and public power in opposing roles, "The Private Abuse of the Public Interest" urges citizens and policy makers to recognize that properly functioning markets presuppose the government's ability to create, sustain, and repair them over time.The authors support their pragmatic approach with evidence drawn from in-depth analyses of education, transportation, and health care policies. In each policy area, initiatives such as school choice, deregulation of airlines and other carriers, and the promotion of managed care have introduced or enlarged the role of market forces with the aim of eliminating bureaucratic inefficiency. But in each case, the authors show, reality proved to be much more complex than market models predicted. This complexity has resulted in a political cycle - strikingly consistent across policy spheres - that culminates in public interventions to sustain markets while protecting citizens from their undesirable effects. Situating these case studies in the context of more than two hundred years of debate about the role of markets in society, Brown and Jacobs call for a renewed focus on public-private partnerships that recognize and respect both sectors' vital - and fundamentally complementary - roles.

Romantic comedy from Paco Cabezas starring Sam Rockwell, Anna Kendrick and Tim Roth. A kind, if a little quirky, young woman called Martha (Kendrick) dumps her boyfriend after he cheats on her. By chance, she runs into an equally eccentric man named Francis (Rockwell) and there is an immediate spark between them. Francis is very forthcoming when talking to Martha about his activities, but Martha doesn't realise at first that he is serious. Francis is a hitman of sorts, one whose moral compass leads him to assassinate the very people who hire him as punishment for them resorting to murder to get what they want. The new couple are being pursued however, and not just by gangsters who want to hire Francis but also by Francis' old partner, Hopper (Roth). Martha really likes Francis, but can she deal with the baggage that comes with him?