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Born and raised in Montgomery, Alabama, Boss studied dance performance at Southern Union State Community College and Chapman University. A contestant on \"So You Think You Can Dance,\" he later became a judge on the dance competition show. He also appeared on \"Star Search,\" \"The Wade Robson Project,\" and in films like \"Hairspray,\" \"Step Up: All In,\" \"Step Up 3D,\" \"Magic Mike XXL,\" the 2016 \"Ghostbusters,\" and \"The Hip Hop Nutcracker.\"
Composer Angelo Badalamenti (March 22, 1937-December 11, 2022) was best-known for his work with filmmaker David Lynch, from motion pictures like \"Blue Velvet\" and \"Mulholland Drive,\" to the cult TV series \"Twin Peaks.\" Sensuous and other-worldly, Badalamenti's synthesizer-infused music was perfectly suited to the surreal and evocative visuals of Lynch.
Actress Kirstie Alley (January 12, 1951-December 5, 2022) earned plaudits for both comedy and drama, winning one Emmy for the hit sitcom \"Cheers\" (on which she starred for six seasons), and winning a second for her performance as the mother of an autistic child in the 1994 TV movie \"David's Mother.\"
A familiar voice in television documentaries, historian David McCullough (July 7, 1933-August 7, 2022) won two Pulitzer Prizes for his biographies of presidents: the 1992 book \"Truman,\" and the 2001 \"John Adams,\" which became the basis of the HBO miniseries that won 13 Emmy Awards. He also authored books on Theodore Roosevelt and Franklin Delano Roosevelt.
He played evil itself in the fantasy \"Time Bandits,\" not to mention an evil computer program in \"Tron,\" Jack the Ripper in \"Time After Time,\" a Klingon in \"Star Trek VI: The Undiscovered Country,\" and a sinister henchman in \"Titanic.\" David Warner (July 29, 1941-July 24, 2022) was one of the most dynamic actors of his generation. With numerous memorable appearances in films and TV, he won an Emmy Award as a Roman senator in the 1981 miniseries \"Masada.\"
British composer Monty Norman (April 4, 1928-July 11, 2022) performed in big bands, wrote songs for British rockers Cliff Richard and Tommy Steele, helped create several stage musicals (including \"Make Me an Offer,\" \"Expresso Bongo,\" \"Irma la Douce,\" \"The Moony Shapiro Songbook\" and \"Poppy\"), and even shared the stage with comic Benny Hill. But it was his theme song for a British secret service agent with a license to kill that proved transcendent.
Like girls, boys exploited through prostitution are most often runaways or throwaways (Flowers, 2001; Lankenau et al., 2005; Moxley-Goldsmith, 2005). For example, one study found that two-thirds of males exploited through prostitution had run away from home prior to becoming involved (Allen, 1980). While many of the factors leading to a young person leaving home are similar for boys and girls, it is estimated that between 40 and 50 percent of boys exploited through prostitution had been thrown out of their homes because of sexual identity issues (Earls & David, 1989; Seattle Commission on Children and Youth, 1986). Approximately 2535 percent of prostituted boys self-identify as gay, bisexual, or transgender/transsexual (Estes & Weiner, 2001). Further, regardless of the boys self-identification, at least 95 percent of all prostitution engaged in by boys is provided to adult men (Estes & Weiner, 2001). Regardless of their sex, when minors leave their homes, it is to protect themselves, often because they view living on the streets as either less dangerous or no more dangerous than staying at home (Hyde, 2005; Martinez, 2006).
Beyond trauma-recovery services, long-term service needs include permanent housing, legal assistance, job training, job placement, education, family reunification (within the United States), and repatriation (in some cases). For some victims, in particular victims of labor trafficking, the victim may have a need for long-term medical care to address physical disabilities resulting from the abuse and/or harsh labor conditions under which the person was forced to work (Bales, 2004; Caliber Associates, 2007). Based on research on the needs of unaccompanied refugee minors, minor international trafficking victims may experience depression and feelings of isolation, but given their culture, they may not know how to express or describe what they are feeling. They may display psychosomatic symptoms; experience high levels of anxiety (especially if language obstacles and cultural differences exist between the minor and the caregiver); experience survivor guilt (victims feel they do not deserve to be alive and in a safe place when friends, siblings, or other family members are suffering); exhibit behavioral problems, including aggression; and question their ethnic identity (Ryan, 1997).
As with all victims of human trafficking, adolescent girls may display symptoms of Stockholm syndrome, otherwise most frequently seen among prisoners of war and torture victims (Graham & Wish, 1994). As a means of emotional and physical survival, the captive (the girl) identifies with her captor. She expresses extreme gratitude over the smallest acts of kindness or mercy (e.g., he does not beat her today), denial over the extent of violence and injury, rooting for her pimp, hypervigilence regarding his needs, and the perception that anyone trying to persecute him or help her escape is the enemy. She may lash out at law enforcement or anyone else attempting to help her exit, and insist that she is fine and happy in her current situation. Further, the manifestations of her trauma may make her reticent to trust those outside the Life who state they are trying to help her (Friedman, 2005; Raphael, 2004).
Studies of runaways provide useful insights about why these youth do not use available services and programs or discontinue using them (De Rosa et al., 1999; Martinez, 2006). Reported barriers included restrictive rules at shelters; concerns regarding confidentiality, including concerns about being reported to child protective services; lack of age-appropriate therapeutic groups; lack of culturally appropriate services; inability to establish trust with staff members due to high staff turnover; and the need for emotional, financial, and other support that will help empower these victims to leave the streets and exploitation (Aviles & Helfrich, 2004; Dalton & Pakenham, 2002). With the exception of the last barrier, the barriers described here are similar to concerns expressed by international trafficking victims during individual interviews conducted as part of a larger evaluation of comprehensive services for victims of human trafficking (Caliber Associates, 2007).
Inciardi, J.,Pottieger, A.E., Forney, M.A., Chitwood, D.D., & McBride, D.C. (1991). Prostitution, IV drug use, and sex-for-crack exchanges among serious delinquents: Risks for IV infection. Criminology, 29(2), 221-235.
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Houston's success also translated to television where, in addition to performing on several late night talk shows such as The Tonight Show with Johnny Carson and Late Night with David Letterman, Houston also became a video star thanks to early videos for \"You Give Good Love\" and \"Saving All My Love for You\" being heavily played on BET and VH1 stations. During this period, Houston and Arista struggled to get these videos submitted to MTV. At the time, MTV had received harsh criticism for not playing enough videos by black, Latino and other racial minorities while favoring white acts.[46] In an interview with MTV years later, Houston explained the difficulties she and Arista faced on trying to bring \"You Give Good Love\" on the channel but was rebuffed because it was \"too R&B\" for their playlist.[47] Eventually, Houston's video for \"Saving All My Love\" was featured in light rotation after the song had become a huge pop hit, with Houston stating that the channel \"had no choice but to play [the video]...I love it when they have no choice\".[47] By the time Houston's third US single, \"How Will I Know\", was released, the colorful video clip, directed by Brian Grant, was immediately added to MTV's playlist, instantly gaining heavy rotation on the channel after just a couple weeks and introducing Houston to the MTV audience.[48] The song itself became Houston's second consecutive number one pop hit on the Billboard Hot 100, where it stayed for two weeks, also topping the Hot Black and Hot AC chart and peaking at number three on the dance charts. Following the successful airing of \"How Will I Know\" on MTV, Houston became a regular presence on the channel as it slowly began changing its programming from rock to a more pop-R&B-dance hybrid playlist, along with artists such as Madonna and Janet Jackson. 153554b96e
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