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After seven years of going through Hell, adjusting to a new life, a new town and new people are the least of Zoey's problems. First of all, she has to learn how to breathe again, how to stop her body from reacting to any touch, no matter how small, and how not to flinch at every noise. She has to learn how to no longer be an empty and haunted shell. She must find a way to silence her demons so she can learn what it means to be alive. But surely the old and rickety bridge on the outskirts of the city, a hidden, forgotten and unsafe place, which she finds by chance, does not make her job any easier. Not when the swirling cold waters beckon her with a sweet song to abandon all her fears, to drown her demons and end her suffering. For good. Who would have thought that the most unsafe place in town would end up being her second safest place? Who would have thought that in the place where she was so determined to lose her life, she would discover a reason good enough to fight? The appearance of Maverick Black was never part of her grand plan, but the arrogant, deep-voiced, sinful man, with too many masks and a charming smile manages to awaken in Zoey everything she thought was stolen from her. Everything she has come to believe is forever gone. True knights ride blood-red motorcycles and not pretty, white, horses.
From the acclaimed author of Forest of a Thousand Lanterns comes a fantastical new tale of darkness and love, in which magical bonds are stronger than blood. Will love break the spell? After cruelly rejecting Bao, the poor physician's apprentice who loves her, Lan, a wealthy nobleman's daughter, regrets her actions. So when she finds Bao's prized flute floating in his boat near her house, she takes it into her care, not knowing that his soul has been trapped inside it by an evil witch, who cursed Bao, telling him that only love will set him free. Though Bao now despises her, Lan vows to make amends and help break the spell. Together, the two travel across the continent, finding themselves in the presence of greatness in the forms of the Great Forest's Empress Jade and Commander Wei. They journey with Wei, getting tangled in the webs of war, blood magic, and romance along the way. Will Lan and Bao begin to break the spell that's been placed upon them? Or will they be doomed to live out their lives with black magic running through their veins? In this fantastical tale of darkness and love, some magical bonds are stronger than blood.
The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. “Coon songs,” with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz. In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the “big shows,” the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from “coon shouters” to “blues singers.” Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.
This is a riveting story of redemption, and a journey to discover truth, love, and purpose. The author has graphically documented her need for healing from the effects of drugs, the occult, and New Age philosophy. She lived in Berkeley during the chaos of social rebellion and drug-induced insanity as a college dropout and former wife of a drug dealer. She also gives us a glimpse of life in the coastal community of Big Sur, where she was miraculously saved in 1972, and which she calls the land of her "second birth." "When I met Mary and John in 2004 on the mission field, I knew this story needed to be told. The union of a flower child and a warrior in marriage is sure to bring the most dramatic stories. But the beauty of this book comes from the heart of God who continued to prepare, refine, and work by revealing Himself throughout their story. You're going to love this one!" -Andy Braner, author, speaker, teen advocate, but most of all a curious observer, discovering God's Beautiful universe
It has always been this way. The Helati are slaves. Each month, at the full moon, they are expelled to face the demon host, the Lost Souls. But something has changed in the fabric of the times. The demons are controlled by a new master, the Darkwing. Now the danger is permanent, the horror incessant. In a southern port, however, a fourteen year old slave girl, oblivious of her destiny, holds the key to ending the nightmare of the Lost Souls. But will she ever understand the secret that is hidden deep in her memory, the secret of the Black Tower? Alan Gibbons' latest novel is an epic fantasy that takes you through a fabled land, reminiscent of a mythical ancient India. On a roller-coaster ride you will meet shape-shifters, demons, magic, tyrants, an evil lord who is the master of the living dead and countless fighters for evil...and for good.
Show Boat: Performing Race in an American Musical tells the full story of the making and remaking of the most important musical in Broadway history. Drawing on exhaustive archival research and including much new information from early draft scripts and scores, this book reveals how Oscar Hammerstein II and Jerome Kern created Show Boat in the crucible of the Jazz Age to fit the talents of the show's original 1927 cast. After showing how major figures such as Paul Robeson and Helen Morgan defined the content of the show, the book goes on to detail how Show Boat was altered by later directors, choreographers, and performers up to the end of the twentieth century. All the major New York productions are covered, as are five important London productions and four Hollywood versions. Again and again, the story of Show Boat circles back to the power of performers to remake the show, winning appreciative audiences for over seven decades. Unlike most Broadway musicals, Show Boat put black and white performers side by side. This book is the first to take Show Boat's innovative interracial cast as the defining feature of the show. From its beginnings, Show Boat juxtaposed the talents of black and white performers and mixed the conventions of white-cast operetta and the black-cast musical. Bringing black and white onto the same stage -- revealing the mixed-race roots of musical comedy -- Show Boat stimulated creative artists and performers to renegotiate the color line as expressed in the American musical. This tremendous longevity allowed Show Boat to enter a creative dialogue with the full span of Broadway history. Show Boat's voyage through the twentieth century offers a vantage point on more than just the Broadway musical. It tells a complex tale of interracial encounter performed in popular music and dance on the national stage during a century of profound transformations.