As dark family secrets threaten the tranquility of the life he's come to love, Dalton Lindquist must make difficult choices about the future. To complicate matters, Phoebe Robbins falls into his life quite literally when Dalton rescues her after she tumbles overboard in the Sitka Harbor. He quickly loses his heart. But Dalton is not the only one who decides to seek Phoebe's attention--his best friend, Yuri, decides to court her when Dalton must travel from Sitka. But when Dalton realizes the depth of his love for Phoebe and returns, the two friends find that their battle for Phoebe's admiration is only the start of the problems that face them.
A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.
The Hidden Chorus investigates the relationship between the chorus of Greek tragedy and other types of choral song in Greek society. Choruses performed on a range of occasions in Greek culture, ranging from private weddings and funerals to large-scale religious festivals, yet the relationship between these everyday or 'ritual' choruses and the choruses of tragedy has never been systematically examined. L. A. Swift discusses choruses from five ritual genres: paian (religious songs of celebration or healing), epinikion (songs for athletic victors), partheneia (songs for the transitions of young girls), hymenaios (wedding song), and thrênos (funerary song), and explores how these choral forms are evoked in tragedy. By examining the relationship between tragic and non-tragic choral song, she not only provides new insights into individual plays, but also enriches our understanding of the role poetry and song played in Greek life.
This pocket companion contains the complete four-week Psalter, sufficient material from the Proper of Seasons to allow for seasonal variations, and texts from selected feasts and solemnities. Lay people especially will be interested in this introduction to the prayer of the Church. (It's less intimidating than attempting to pray the entire Office.) It also makes a convenient travel edition for clergy who would normally use either Christian Prayer or the complete Liturgy of the Hours./p>
From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric. Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (George Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air, and their masterpiece, Show Boat. The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Georges Bizet. In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma!, merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella). Collectively their works have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys. Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.” All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.
Classic sociological analyses of 'deviance' and rebellion; studies of technology; subcultural and feminist readings, semiotic and musicological essays and close readings of stars, bands and the fans themselves by Adorno, Barthes and other well-known contributors
Common Worship: Morning and Evening Prayer is an easy-to-use volume which contains authorised forms of Morning Prayer and Evening Prayer for weekdays during ordinary time and each of the seasons of the Christian year, together with a selected psalms and scripture readings. All texts are taken from Common Worship: Daily Prayer, one of the most popular resources in the Common Worship range, and short Bible readings are printed out in full. It is designed for churches and individuals seeking a simple and portable daily office book and complements the existing volumes Time to Pray which includes outlines for Prayer During the Day and Night Prayer, and also the Morning and Evening Prayer on Sunday booklet. Soft-touch leather binding.
The scholarship of Meredith G. Kline (1922-2007) was characterized by a very high view of Scripture, a strong commitment to a Reformed view of biblical theology (centered on covenant), explication of the coherence of the Old and New Testaments, and, most of all, a desire to focus the attention of both scholars and lay Christians on the centrality of Christ's redemptive work of justifying his people and imbuing them with his perfect righteousness. Kline's writings are often quite creative and full of fresh insights, thoroughly intellectual but also pastoral, and they have provided many with the exciting, energizing feeling that they are reading and understanding the biblical text--and how Scripture in its entirety hangs together--for the first time. Essential Writings of Meredith G. Kline presents sixteen articles that Meredith G. Kline wrote over a period of forty years. The articles display the unique, creative, and Christocentric way in which Kline interpreted the entire Bible. They cover a range of topics, thereby providing a good overview of Kline's scholarship. Topics include covenant, law, and the state; faith, the gospel, and justification; redemption; and resurrection and the consummation. Pastors and scholars, especially those in the Reformed community, will be delighted by the fresh insights and wisdom, and sometimes paradigm-changing perspectives, found in the pages of this book. Meredith G. Kline (1922-2007) was a professor of Old Testament for fifty-five years, teaching at four seminaries: Westminster Theological Seminary in Philadelphia, Gordon-Conwell Theological Seminary, Reformed Theological Seminary, and Westminster Theological Seminary in California. He was also an ordained minister in the Orthodox Presbyterian Church.
There are many devotional books available containing brief, daily inspirations that benefit all who read them. This book is different in two respects. The first is obvious: it contains two readings per day—732 in all. The second, more important difference is that the author wanted to do more than offer inspiration; this would make this book no different than so many others. The messages in the book are study sketches in that the content is not only inspirational, but also educational, challenging, and encouraging. Most of these writings were based on author Michael J. Akers’s teaching of adult Bible studies for more than thirty years and learning what really brought adults to want to deepen their knowledge and application of the Word of God.
