Reclaim the joy of play for yourself! Play is crucial in adulthood because it fosters adaptiveness, creativity, role rehearsal, and mind-body integration. Just Play specifically targets adults' play and explains how the adults' shift toward creativity can influence children. If adults can reharness their playful capacities and reap all of play’s benefits, they will be equipped to work with children, design effective curricula, understand children and increase empathy, create playful leadership opportunities, and make significant changes to their programs and organizations. In play, children stay connected to their childhood capacities that support creativity and innovation. Just like children, when adults engage in play and creative endeavors, they can find that childlike center that cultivates happiness and joy. Play is affirming because it allows us to enter a natural, safe, and caring environment in which we freely explore our inner thinking and desires. The book will guide educators, administrators, and faculty through a series of comprehensive steps that will shift their thinking surrounding adult play. It is designed to give administrators, associations, and community agencies a blueprint to redesign programs to increase creativity and innovation, and ultimately drive system change.

The author ranges through Beckett's drama to analyze his approach to place, time, soliloquy, fiction, and repetition. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Facing summer with her two boys, ages ten and seven, Pam Lobley was sifting through signups for swim team, rec camp, night camp, scout camp, and enrichment classes. Overwhelmed at the choices, she asked her sons what they wanted to do during summer: “Soccer? Zoo School? Little Prodigy’s Art Club?” “Why can’t we just play?” they asked. A summer with no scheduled activities at all . . . The thought was tempting, but was it possible? It would be like something out of the 1950s. Could they really have a summer like that? Juggling the expectations of her husband (“Are you going to wear garters?”), her son, Sam (“I’m bored!”), and her son, Jack (“Can I just stay in my pajamas?”), Pam sets out to give her kids an old-fashioned summer. During the shapeless days, she studies up on the myths and realities of the 1950s. With her trademark wit and candor, she reveals what we can learn from those long-ago families, why raising kids has changed so drastically, and most importantly, how to stop time once in a while and just play.

As experienced teachers of novice game designers, the authors have discovered patterns in the way that students grasp game design - the mistakes they make as well as the methods to help them to create better games. Each exercise requires no background in programming or artwork, releasing beginning designers from the intricacies of electronic game production and allowing them to learn what works and what doesn't work in a game system. Additionally, these exercises teach important skills in system design: the processes of prototyping, playtesting, and redesigning.

This readable guide for therapists and therapists-in-training lays out the theoretical essence and practical essentials of doing child and adolescent psychotherapy from the referral call to the last goodbye.

This transformative book looks at one of the most undervalued aspects of childhood, joy. Using the latest neuroscience and biochemistry this book shows that joy, far from being an abstract concept, is one of the key motivators for every aspect of learning and development throughout childhood and something we ignore at our peril. The book gives concrete strategies for increasing the levels of joy in our children and highlights the catastrophic damage that a decline in joy can cause in our children especially in a post pandemic world. Suitable for anyone who works with children, this book puts forward a compelling argument that Joy is profoundly important for all of our children and can fundamentally help our children to thrive. Warning - may contain evil clowns!

At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.

While he was still in his twenties, Horace Tapscott gave up a successful career in Lionel Hampton’s band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing affordable, community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God’s Musicians and Artists Ascension (UGMAA) Foundation, were at the forefront of the vital community-based arts movements in black Los Angeles. Some three hundred artists—musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists—passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame. Based primarily on one hundred in-depth interviews with current and former participants, The Dark Tree is the first history of the important and largely overlooked community arts movement of African American Los Angeles. Brought to life by the passionate voices of the men and women who worked to make the arts integral to everyday community life, this engrossing book completes the account began in the highly acclaimed Central Avenue Sounds, which documented the secular music history of the first half of the twentieth century and which the San Francisco Examiner called "one of the best jazz books ever compiled."

Hailed by many as the world's greatest harmonica player, John Popper has redefined the instrument. As the lead singer and principal songwriter of Blues Traveler, Popper has performed for more than 30 million people over 2,000 live dates and composed such radio staples as "Hook," "But Anyway," and "Run-Around," the longest-charting single in Billboard history. He has appeared with Eric Clapton and B. B. King at the White House, welcomed the Hungarian ambassador to the stage, and inducted Carlos Santana into the Rock and Roll Hall of Fame. In Suck and Blow, Popper shares a candid, spirited account of his life and career. A straight-F student at Princeton High School, Popper's life changed with one serendipitous harmonica solo that captured the attention of his mercurial band teacher (the same teacher whose life was later fictionalized in the Academy Award-winning film Whiplash). After befriending three fellow musicians with whom he would form Blues Traveler, Popper's academic career nearly ended in twelfth grade, until a meeting with the Dean of the New School for Social Research in which Popper pulled out his trusty harp and played his way into college. Popper and Blues Traveler soon became enmeshed in the lower Manhattan music scene of the late 1980s, eventually becoming the house band at the fabled Wetlands Preserve and embarking on a journey that would one day land the group at Madison Square Garden on New Year's Eve. Along the way, Popper and his cohorts commanded the attention of fans and bands alike, through inspired performances and riotous debauchery. Popper's unique perspective on the music business began under the tutelage of Blues Traveler's mentor and manager Bill Graham. After the rock impresario's untimely passing, Popper applied many of Graham's lessons to the formation of the H.O.R.D.E. tour, which John co-owned and hosted over eight years, welcoming such artists as Neil Young, the Allman Brothers Band, Phish, Dave Matthews Band, Ziggy Marley, and his longtime friends the Spin Doctors. Popper also shares a forthright assessment of his longstanding battle with obesity. Plagued by weight problems since childhood, a motorcycle accident a few years into his career confined him to a wheelchair for two years while his weight ballooned to 436 pounds. Angioplasty, gastric bypass surgery, and a tattoo on his chest that reads "I Want to Be Brave" when viewed in the mirror are products of Popper's struggle, compounded by codependency issues and the untimely death of founding Blues Traveler bassist Bobby Sheehan. Popper's personal identity is entwined with his political passions. A staunch supporter of gun rights, he has performed at the National Republican Convention, yet he also maintains liberal positions on social issues. He will reconcile these views and share his encounters with the Bush family, the Clintons, the Gores, and other politicos. The iconoclastic, self-described Johnny Appleharp also dishes on cutting contests, Twitter trolls, party fouls, and prostitutes. In Suck and Blow, John Popper does it all with his signature honesty, humility, and humor.

i’ve got peter gabriel’s “I Don’t Remember” going thru my head this morning . . . and most of yesturday, and the day before. it seems important to some part of my soul which sits with signs and applause everytime it goes thru my head. they like the drive of the artist’s expression of frustration and anxiety which comes thru in a manic crazyness. the song is an example of something that flashes us spiritually . . . maybe unlike a man in a trenchcoat . . . wearing shorts with a tee-shirt . . . flashing us briefly (ow!) as we walk by. the words “believe in god” embelished on his shirt echo on the canvas of the imagination. it doesn’t matter if we turn around, run after him and chide him in his actions. it doesn’t matter if by doing this it puts him in the same alagory as a pervert . . . and by action, god as well. ultimately tho, the tired, worn out god, quietly sitting in a courner, desperatly trying to believe in himself . . . probably wondering how valid this whole soap opera is, and whether or not spiritual flashers help or hurt his cause. now i got one of the songs from “the last temptation of christ” going thru my head . . . soundtrack ala peter gabriel as well. another spiritual flasher . . . who, jesus or peter gabriel? both an arrow pointing at a path to be walked . . . or a voice to listen to . . . or a feeling to behold. the hardest part is opening your heart up to the option. the option to be open. ( . . . maybe it’s god that’s trying to get into a working relationship with us and it’s us that flinch and put it back up on a pedistal.) . . . why pursue it then? the path. you might accidently get superpowers or something . . . start levitating, healing the sick, curing the blind. become an issue . . . to be delt with by turkeys that can’t fly. walk around, wonder when thanksgiving is. wonder if you look like a turkey. if you are a turkey walking around with turkeys talking turkey talk about how great it is to be a turkey . . . waiting for other turkeys to come over and watch turkey friends on turkey tv. and each turkey has the same turkey right to talk turkey to any turkey it wants in a frantic pace with a frantic face . . . then it’s a good turkey day to be a turkey. gobble it up the daily rut. question your life avoid the knife. be not a turkey entwined behind the line of commonality to turkey HQ. after awhile, you fall into the style. you are accepted, people talk to you. and you find flaws in the turkey tune.