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The legendary frontman of Judas Priest, one of the most successful heavy metal bands of all time, celebrates five decades of heavy metal in this tell-all memoir. Most priests hear confessions. This one is making his. Rob Halford, front man of global iconic metal band Judas Priest, is a true "Metal God." Raised in Britain's hard-working, heavy industrial heartland, he and his music were forged in the Black Country. Confess, his full autobiography, is an unforgettable rock 'n' roll story-a journey from a Walsall council estate to musical fame via alcoholism, addiction, police cells, ill-fated sexual trysts, and bleak personal tragedy, through to rehab, coming out, redemption . . . and finding love. Now, he is telling his gospel truth. Told with Halford's trademark self-deprecating, deadpan Black Country humor, Confess is the story of an extraordinary five decades in the music industry. It is also the tale of unlikely encounters with everybody from Superman to Andy Warhol, Madonna, Jack Nicholson, and the Queen. More than anything else, it's a celebration of the fire and power of heavy metal. Rob Halford has decided to Confess. Because it's good for the soul. Named one of the Best Music Books of 2020 by Rolling Stone and Kirkus Reviews
The New Judas is a new account of the life of Nestorius (c. 386-451 CE), the Christological controversy that engulfed him, as well as the critical imperial interventions into ecclesiastical politics during the period from the First Council of Ephesus to the Council of Chalcedon. This work endeavours to use both Nestorius' own Liber Heraclidis, preserved only in Syriac, as well as the unprecedented abundance of primary documents in Greek and Latin from Acta Conciliorum Oecumenicorum, to answer a question of fundamental historical importance: How could the teaching of Christ's two natures, one so closely identified with Nestorius, deposed in 431, be vindicated in all its essentials at the Council of Chalcedon in twenty years later? The answer requires not only a reconsideration of the role of the supposedly timid emperor Theodosius II, but also a new understanding of the evolving position of Nestorius' chief opponent, Cyril of Alexandria.
Get a backstage pass and see Judas Priest like you’ve never seen them before in this electrifying memoir by the band’s cofounder and former lead guitarist. Judas Priest formed in the industrial city of Birmingham, England, in 1969. With its distinctive twin-guitar sound, studs-and-leather image, and international sales of over 50 million records, Judas Priest became the archetypal heavy metal band in the 1980s. Iconic tracks like "Breaking the Law," "Living after Midnight," and "You've Got Another Thing Comin'" helped the band achieve extraordinary success, but no one from the band has stepped out to tell their or the band's story until now. As the band approaches its golden anniversary, fans will at last be able to delve backstage into the decades of shocking, hilarious, and haunting stories that surround the heavy metal institution. In Heavy Duty, guitarist K.K. Downing discusses the complex personality conflicts, the business screw-ups, the acrimonious relationship with fellow heavy metal band Iron Maiden, as well as how Judas Priest found itself at the epicenter of a storm of parental outrage that targeted heavy metal in the '80s. He also describes his role in cementing the band's trademark black leather and studs image that would not only become synonymous with the entire genre, but would also give singer Rob Halford a viable outlet by which to express his sexuality. Lastly, he recounts the life-changing moment when he looked at his bandmates on stage during a 2009 concert and thought, "This is the last show." Whatever the topic, whoever's involved, K.K. doesn't hold back.
The hunt is on for the apocryphal Gospel of Judas in the thriller that Lisa Scottoline says "you won't be able to put down," from celebrated New York Daily News columnist Linda Stasi
INTERNATIONAL BESTSELLER and winner of the International Literature Prize. At once an exquisite love story and a coming-of-age novel, an allegory for the state of Israel and for the biblical tale from which it draws its title, Judas is one of Amos Oz’s most powerful novels. Jerusalem, 1959. Shmuel Ash, a biblical scholar, is adrift in his young life when he finds work as a caregiver for a brilliant but cantankerous old man named Gershom Wald. There is, however, a third, mysterious presence in his new home. Atalia Abravanel, the daughter of a deceased Zionist leader, a beautiful woman in her forties, entrances young Shmuel even as she keeps him at a distance. Piece by piece, the old Jerusalem stone house, haunted by tragic history and now home to the three misfits and their intricate relationship, reveals its secrets. “[A] magnificent novel . . . Oz pitches the book’s heartbreak and humanism perfectly from first page to last.”—New York Times Book Review “Scintillating . . . An old-fashioned novel of ideas that is strikingly and compellingly modern.”—Observer “Oz has written one of the most triumphant novels of his career.”—Forward “A [big] beautiful novel . . . Funny, wise, and provoking.”—Times (UK)
In this dystopian science fiction classic set in a world where women have no rights, the patriarchy sends a covert female agent to take down the resistance. In the second entry of the Native Tongue trilogy, the time has come for Láadan—the secret language created to resist an oppressive patriarchy—to empower womankind worldwide. To expand the language’s reach, female linguists translate the Bible into Láadan, and a group of Roman Catholic nuns are tasked to spread the language. But when outraged priests detect their sabotage, they send a double agent to infiltrate and destroy the movement from the inside… Originally published in the 1980s, the Native Tongue trilogy is a classic dystopian tale: a testament to the power of language and women's collective action. “This angry feminist text is also an exemplary experiment in speculative fiction, deftly and implacably pursuing both a scientific hypothesis and an ideological hypothesis through all their social, moral, and emotional implications.”—Ursula K. Le Guin “Less well known than The Handmaid's Tale but just as apocalyptic in their vision…Native Tongue along with its sequel The Judas Rose . . . record female tribulations in a world where…women have no public rights at all. Elgin's heroines do, however, have one set of weapons—words of their own.”—Sandra M. Gilbert and Susan Gubar, New York Times Book Review “A pioneering feminist experiment.”—Literary Hub “A welcome reminder of the feminist legacies of science fiction…Explores the power of speech, agency, and subversion in a work that is as gripping, troubling, and meaningful today as it has ever been.”—Publishers Weekly (starred review)
An account of the story of the New Testament's arch-villain and his history over the past 2000 years in which Gubar links Christian anti-Semitism with Christianity's attempt to grapple with transcendent evil.
When the world thinks of heavy metal in its pure, potent, undiluted form, it is none other than the Metal Gods, Judas Priest, that instantly come to mind. Chrome and black leather, studs and whips and chains, a chopper on stage to announce the coming... these are the tools of the trade for Rob Halford and his legendary band of Birmingham bashers. Indeed, the Priest are the bringers of metal's biggest anthems. "Breaking the Law," "Living after Midnight," "Exciter," "Electric Eye," "Victim of Changes," and especially "You've Got Another Thing Comin'"... these are songs woven into the fabric of metal's wild ride, Priest having been there since its origins, revving up crowds as superstars certainly for 30 years of that run. Lifelong fan and preeminent metal historian Martin Popoff examines the Priest's rich legacy from 1974 to 1984, album by album, anthem by anthem, in this hugely expanded update on the early years portion of his long out-of-print Heavy Metal Painkillers book. Having interviewed all the principals in the band repeatedly over the years, Popoff gives a first-hand account of Priest's rocky, often comical ride through the '70s, and through the gold and platinum records of the '80s, expertly detailing the long road to the arena headline status the band now enjoys as heavy metal's proudest ambassadors. Judas Priest: Decade of Domination includes extensive commentary from reclusive drummer Les Binks, along with new interview footage from Tom Allom, Chris Tsangarides, K.K. Downing, Glenn Tipton, Ian Hill, Rob Halford, and various other insiders who are part of the Priest saga during this hallowed, golden era. Also included are tons of memorabilia shots, live photography and two tipped-in colour sections. To reiterate, this is the most extensive analysis ever in book form of: Rocka Rolla, Sad Wings of Destiny, Sin After Sin, Killing Machine/Hell Bent for Leather, Unleashed in the East, British Steel, Point of Entry, Screaming for Vengeance and Defenders of the Faith-song by song, lots of stories, looking at licks and fills, and what's in the right channel and left, lyric analysis... the deepest dive ever on these records.
"A biography of British heavy metal band Judas Priest"--Provided by publisher.
A new translation and commentary on the extracanonical Coptic text that describes Judas’ special status among Jesus’ disciples Since its publication in 2006, The Gospel of Judas has generated remarkable interest and debate among scholars and general readers alike. In this Coptic text from the second century C.E., Jesus engages in a series of conversations with his disciples and with Judas, explaining the origin of the cosmos and its rulers, the existence of another holy race, and the coming end of the current world order. In this new translation and commentary, David Brakke addresses the major interpretive questions that have emerged since the text’s discovery, exploring the ways that The Gospel of Judas sheds light on the origins and development of gnostic mythology, debates over the Eucharist and communal authority, and Christian appropriation of Jewish apocalyptic eschatology. The translation reflects new analyses of the work’s genre and structure, and the commentary and notes provide thorough discussions of the text’s grammar and numerous lacunae and ambiguities.