From one of the sharpest Christian voices of her generation and host of the podcast Relatable comes a framework for escaping our culture of trendy narcissism—and embracing God instead. We're told that the key to happiness is self-love. Instagram influencers, mommy bloggers, self-help gurus, and even Christian teachers promise that if we learn to love ourselves, we'll be successful, secure, and complete. But the promise doesn't deliver. Instead of feeling fulfilled, our pursuit of self-love traps us in an exhausting cycle: as we strive for self-acceptance, we become addicted to self-improvement. The truth is we can't find satisfaction inside ourselves because we are the problem. We struggle with feelings of inadequacy because we are inadequate. Alone, we are not good enough, smart enough, or beautiful enough. We're not enough--period. And that's okay, because God is. The answer to our insufficiency and insecurity isn't self-love, but God's love. In Jesus, we're offered a way out of our toxic culture of self-love and into a joyful life of relying on him for wisdom, satisfaction, and purpose. We don't have to wonder what it's all about anymore. This is it. This book isn't about battling your not-enoughness; it's about embracing it. Allie Beth Stuckey, a Christian, conservative new mom, found herself at the dead end of self-love, and she wants to help you combat the false teachings and self-destructive mindsets that got her there. In this book, she uncovers the myths popularized by our self-obsessed culture, reveals where they manifest in politics and the church, and dismantles them with biblical truth and practical wisdom.

The subversive songs of Tom Lehrer, the sardonic piano-wielding fugitive from Harvard, have corrupted generations of Americans since he first began recording and performing in the 1950s. His uniquely depraved wit has been forced again on an unsuspecting public' via Tomfoolery, the stage revue based on his ever-trenchant observation of the American scene. This new songbook, with old favorites unavailable for years as well as never-published songs, is the most comprehensive ever assembled. It contains the words, tunes, piano accompaniments, and guitar chords for these thirty-four classics: The Irish Ballad Fight Fiercely, Harvard! Be Prepared The Old Dope Peddler The Wild West Is Where I Want to Be I Wanna Go Back to Dixie Lobachevsky The Hunting Song I Hold Your Hand in Mine My Home Town L-Y When You Are Old and Gray The Wiener Schnitzel Waltz Poisoning Pigeons in the Park A Christmas Carol Bright College Days In Old Mexico She's My Girl The Elements The Masochism Tango National Brotherhood Week MLF Lullaby The Folk Song Army Smut Send the Marines New Math Pollution So Long, Mom Who's Next? Wemher Von Braun We Will All Go Together When We Go I Got It from Agnes Silent E The Vatican Rag

“No one has written with more penetrating skepticism about the history of human rights.” —Adam Kirsch, Wall Street Journal “Moyn breaks new ground in examining the relationship between human rights and economic fairness.” —George Soros The age of human rights has been kindest to the rich. While state violations of political rights have garnered unprecedented attention in recent decades, a commitment to material equality has quietly disappeared. In its place, economic liberalization has emerged as the dominant force. In this provocative book, Samuel Moyn considers how and why we chose to make human rights our highest ideals while simultaneously neglecting the demands of broader social and economic justice. Moyn places the human rights movement in relation to this disturbing shift and explores why the rise of human rights has occurred alongside exploding inequality. “Moyn asks whether human-rights theorists and advocates, in the quest to make the world better for all, have actually helped to make things worse... Sure to provoke a wider discussion.” —Adam Kirsch, Wall Street Journal “A sharpening interrogation of the liberal order and the institutions of global governance created by, and arguably for, Pax Americana... Consistently bracing.” —Pankaj Mishra, London Review of Books “Moyn suggests that our current vocabularies of global justice—above all our belief in the emancipatory potential of human rights—need to be discarded if we are work to make our vastly unequal world more equal... [A] tour de force.” —Los Angeles Review of Books

In his study, Markus Jaeger explores the coalescence of Joan Baez's work as a singer and songwriter with her endeavors as a political activist throughout the last fifty years. He illustrates an American popular singer's significance as a political activist—for her audiences and for her opponents as well as for those victims of politically organized violence who have profited from her work. Mingling popular culture with political activism can be a helpful means to achieve non-violent societal progress. Joan Baez's work offers an excellent example for this hypothesis.

The story of the music that accompanies the cinematic adventures of Ian Fleming's intrepid Agent 007 is one of surprising real-life drama. In The Music of James Bond, author Jon Burlingame throws open studio and courtroom doors alike to reveal the full and extraordinary history of the sounds of James Bond, spicing the story with a wealth of fascinating and previously undisclosed tales. Burlingame devotes a chapter to each Bond film, providing the backstory for the music (including a reader-friendly analysis of each score) from the last-minute creation of the now-famous "James Bond Theme" in Dr. No to John Barry's trend-setting early scores for such films as Goldfinger and Thunderball. We learn how synthesizers, disco and modern electronica techniques played a role in subsequent scores, and how composer David Arnold reinvented the Bond sound for the 1990s and beyond. The book brims with behind-the-scenes anecdotes. Burlingame examines the decades-long controversy over authorship of the Bond theme; how Frank Sinatra almost sang the title song for Moonraker; and how top artists like Shirley Bassey, Tom Jones, Paul McCartney, Carly Simon, Duran Duran, Gladys Knight, Tina Turner, and Madonna turned Bond songs into chart-topping hits. The author shares the untold stories of how Eric Clapton played guitar for Licence to Kill but saw his work shelved, and how Amy Winehouse very nearly co-wrote and sang the theme for Quantum of Solace. New interviews with many Bond songwriters and composers, coupled with extensive research as well as fascinating and previously undiscovered details--temperamental artists, unexpected hits, and the convergence of great music and unforgettable imagery--make The Music of James Bond a must read for 007 buffs and all popular music fans. This paperback edition is brought up-to-date with a new chapter on Skyfall.