On 16 October 1901, shortly after moving into the White House, Theodore Roosevelt invited Booker T. Washington, President of the Tuskegee Institute, to dine with him and his family, and provoked an outpouring of condemnation from southern politicians and press. This reaction affected subsequent White House practice, and no other African American was invited to dinner for almost thirty years. That dinner and subsequent racial issues affecting Roosevelt during his presidency are recorded in Edmund Morris’, Theodore Rex. Your assignment is to read Chapters 1-10, 16-18, and 28-31 of that book. Then, write an essay about race relations in America of that period (1900 -1908) that incorporates the concepts of Social Darwinism, “survival of the fittest’, integration, and segregation involving both African Americans and Japanese Americans. You must define Social Darwinism, “survival of the fittest’, integration, and segregation and identify the ideological positions of Roosevelt and Washington regarding segregation and integration. Your essay must include both Northern and Southern views; identified in the book, of the dinner and what effects it would have on race relations of the era. You must also include your opinion of which policy; integration or segregation, would work best in the society of that period. The essay must be at least five (5) paragraphs, include definitions of the four terms, describe the ideological positions of Roosevelt and Washington, and include your opinion of the “best” or “only” policy and why your policy; either integration of segregation, would be the better policy.MLA FORMAT, TIMES ROMAN,DOUBLE LINE SPACING,FRONT SIZE 12

Read a selection of your colleagues’ posts.Respond to at least two colleagues with a thoughtful question or suggestion that builds on your colleague’s strategy for debriefing.Be sure to use references in your response DB1—Majian this weeks video of Jake, the social worker seems to be a little worked up and emotional after working with Jake. I could relate to her because this has happen to me before as an intern. Emotions are normal and unavoidable sometimes (Gilbey, 2017). Sometimes their situations are so vivid in our minds and so horrific that you can't help to dwell on it sometimes and feel for them as well. In order for her to continue working with Jake and be able to provide him the best services she should manage her feelings and talk to her supervisor to see if there is anything she can do. This can lead to burnout. I would go to a safe space to process my emotions because allowing emotions into the workplace can sometimes hinder the way I work with clients but sometimes can be beneficial. As a supervisor working with this social worker I would provide her with that open space to talk about how she feels and why. This alone could help her to reduce the amount of emotion she has. I would also give her some advice on something that she could do to assist her with not taking her clients problems home. Having supportive supervision is very important in social work because it is needed and it always the social worker to feel they have someone to go to if needed. Manager-initiated time offered through reflective supervision is a key part in allowing an opening for emotions to be used (Gilbery, 2017).Gilbey, B. (2017). Too Involved or Unable to Cope? Can we bring emotions into social work? https://www.communitycare.co.uk/2017/08/15/involve...DB2—ZycaraPost a strategy that you, as the social work supervisor in the Levy case study video, might use to debrief the social worker after the session described in the video.One strategy that might be useful to debrief the social worker in the Levy case would be weekly team debrief meetings. We currently utilize this method at my field education placement and it provides a space for the social work interns to speak with colleagues and supervisors regarding their cases and ways to process the sessions. According to the NASW Best Practice Standards in Social Work Supervision (2013) "It is the supervisor’s responsibility to ensure that the supervisee provides competent, appropriate, and ethical services to the client" (NASW, 2013/ pg 8). These weekly meetings are ways for the supervisors to ensure we are practicing competently, ethically, and appropriately. It is also a chance to continue the education and learning needed to improve the skills and knowledge of the supervisees. It also assists the supervisees with learning to process their emotions regarding their caseloads. Pamela Szczygiel (2020) discusses the importance of allowing yourself to sit with and process your emotions when working with clients who are dealing with traumatic experiences (Szczygiel, 2020). As a future supervisor, I would ensure there are avenues and spaces for my employees and teammates to debrief and process the sessions of their caseload so as to keep them mentally and emotionally strong. I would also provide ways to decompress and learn self-care skills to increase health and strength while practicing. References:National Association of Social Workers and Association of Social Work Boards. (2013). Best practice standards in social work supervision. Retrieved from https://www.socialworkers.org/LinkClick.aspx?filet...Szczygiel, P. (2020). The Profound Act of Sitting With Difficult Emotions and the Value of Process in Social Work Practice. SocialWorker.com. https://www.socialworker.com/feature-articles/practice/the-profound-act-of-sitting-with-difficult-emotions-and-value-of-process-in-social-work-practice/.

You are applying for funding to produce a show in the Issues in American Music concert series. Working in a small group , identify a contemporary socio-political issue that you feel requires action and design an event that explores this issue through music. Select three artists (solo or ensembles) that speak to your theme to perform in the concert.Your concert and proposal will be evaluated on quality, thoughtfulness, and originality. Your show should educate the audience on the issue, offer possible interventions, and help spur listeners to action. Think also about how the concert itself can be an act of protest or civil disobedience versus simply presenting “political” content. How can choices in format, venue, audience-performer engagement, and other dynamics further a particular political goal? What are the various ways an artist, piece, or space can be radical? Remember that music can be political not only in textual references but in how, where, and by whom it is performed. Your group will write and turn in a 3-page “grant proposal” (typed, double-spaced) and briefly present the concert plan in sections. Proposals should be typed, double-spaced, and follow the format below. Presentations should be 5 minutes maximum and outline the event theme, approach, and roster of artists. Each member of the group needs to speak at some point in the presentation. There will be a few minutes after each presentation for questions and discussion.Grant proposals should follow this outline (in this order) and include subheadings:Title. Give your concert a title that colorfully illuminates your theme and will attract audiences.Theme (one paragraph). State your socio-political issue, describe how your series will help listeners better understand it, and detail its importance to discussions of race, politics, and/or music in the U.S. In this paragraph, you should be making an argument for why your concert should be funded: its socio-political importance, its relevance to the Issues in American Music series, its appeal to audience, and what you hope it will do in terms of intervening in your issue.Audience (one paragraph). Who is your target audience for this show? Why? How will you get word to this audience and work to get them to your show?Venue (one paragraph). Where will your event be held? Why is this venue important to your show?Artists (one paragraph each). List each of the three artists you will include in your concert and give basic information on the musician/group (who, style or styles they play, from where, instrumentation, or any other important features) and how they relate to and illustrate your concert theme. BE SPECIFIC about what and how audiences will learn about your theme through the music or broader performance of your artists. Also, include a print citation or weblink (NOT wikipedia) for each artist so the grant committee can learn more about them. NOTE: There are no era or geographical limitations. Artists can be dead or alive, from different time periods than each other, or from outside of the U.S., as long as they best exemplify your theme. You can choose genres we studied or not, although you can only include up to two artists we discussed in class.(Group members already have Pleasure, Tupac)Publicity. Create a piece of marketing for the show. Publicity can be a poster, video, social media ad, proposed live publicity action, or anything else you can dream up. Include a draft of this marketing piece as an addendum to your proposal (this should be in addition to the three pages).