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Jack King is at a crossroads - Things haven't exactly turned out for him the way he imagined...unless, of course, getting dumped by his girlfriend, being a slave to workforce drudgery and living the life of a degenerate pothead were all part of the cosmic plan. Faced with the choice of either surrendering to the realities of this mundane existence or boldly pursuing his own creative passion for peach pie, the blues and the Chicago Cubs, Jack hits the road to live the dream and find friendship, love, money and the Big Time.
Jonah Hook was a man who had lost everything a man could lose--but the iron will to reclaim what had been taken from him. Now he must confront the fiery religious heretic who has enslaved his wife and the fierce Comanche tribe who has raised his long-lost sons. From Fort Laramie, land of Sioux and Cheyenne, to the empire of the Mormons in the shadow of tall mountains, and on to the Texas panhandle, where he will join the ranks of the Texas Rangers, the journey ahead will test Jonah's courage, cunning, and endurance to the limit. On this bloody trail of rescue and revenge, nothing will stop him save success . . . or death.
Winter's Rain tells the story of a time when life remained an unfair spiritual war game. It was a time when there were uncertainties and untold mysteries and for some, fame. It was a cold day in hell, where no one could tell what it was like living in a jail cell. It was a time when challenges spread their way across the sky and when great torrential downpours and blocks of ice astounded more than the pounded dough of the American pie. It was when heavy winds ruled over rough terrains pooled in the distillation of predatory fears. It was a time when the merchant of death ruled like a plague with no breath, but not without the pain of knowing persistent suffering once again. Winter's Rain uniquely portrays hidden sadness and loneliness. Of the many that embarked upon this sad and lonely journey, far too many lay in waste due to unattended gurneys. All have been consumed by the bombardment of fear. All have fallen prey to its savage rival steer, for not even hell can resist the stall of innocent pain when nighttime falls upon the dream of life during a writer's Winter's Rain.
A New York Times Best Seller 2019 National Book Award Longlist, Nonfiction 2019 Kirkus Book Prize Finalist, Nonfiction A February IndieNext Pick Named A Most Anticipated Book of 2019 by Buzzfeed, Nylon, The A. V. Club, CBC Books, and The Rumpus, and a Winter's Most Anticipated Book by Vanity Fair and The Week Starred Reviews: Kirkus and Booklist "Warm, immediate and intensely personal."—New York Times How does one pay homage to A Tribe Called Quest? The seminal rap group brought jazz into the genre, resurrecting timeless rhythms to create masterpieces such as The Low End Theory and Midnight Marauders. Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group’s history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself. Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast–West Coast rivalry that threatened to destroy the genre, and some record labels’ shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he’s remembering The Source magazine cover announcing the Tribe’s 1998 breakup or writing personal letters to the group after bandmate Phife Dawg’s death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that—like the low end, the bass—are not simply heard in the head, but felt in the chest.
Vol. 14-15 contain the Edinburgh star place catalogue and ephemerals for 1830-1890.
Bands structured around western wind instruments are among the most widespread instrumental ensembles in the world. Although these ensembles draw upon European military traditions that spread globally through colonialism, militarism and missionary work, local musicians have adapted the brass band prototype to their home settings, and today these ensembles are found in religious processions and funerals, military manoeuvres and parades, and popular music genres throughout the world. Based on their expertise in ethnographic and archival research, the contributors to this volume present a series of essays that examine wind band cultures from a range of disciplinary perspectives, allowing for a comparison of band cultures across geographic and historical fields. The themes addressed encompass the military heritage of band cultures; local appropriations of the military prototype; links between bands and their local communities; the spheres of local band activities and the modes of sociability within them; and the role of bands in trajectories toward professional musicianship. This book will appeal to readers with an interest in ethnomusicology, colonial and post-colonial studies, community music practices, as well as anyone who has played with or listened to their local band.