Easily pleased, Micah enjoys a career in non-profit work and gets through his days one lame joke at a time. Then his friend Lou introduces him to her musical family and the Knights pull Micah into their world of resilience and sorrow. Soon, Micah understands that in the face of grief, optimism isn't always enough. Lei was once revered for his tremendous talent. But one day the music died, and the scars under his leather bracelets are a reminder of what he lost. These days, he's nothing but a phantom. Shut away from the world, Lei tunes instruments in the Knights' music store. Then charismatic Micah enters his life, charming his family and slowly coaxing his way into Lei's heart with steadfast devotion. With Micah at his side, it may yet be possible for Lei to reclaim the spotlight he'd thought permanently abandoned.

Provides 50 hymn-tunes with thrilling last-verse accompaniments by such Church Music luminaries as Sir David Willcocks, George Guest, Herbert Sumsion, Martin How and Sydney Nicholson.

From the earliest sound films to the present, American cinema has represented African Americans as decidedly musical. Disintegrating the Musical tracks and analyzes this history of musical representations of African Americans, from blacks and whites in blackface to black-cast musicals to jazz shorts, from sorrow songs to show tunes to bebop and beyond. Arthur Knight focuses on American film’s classic sound era, when Hollywood studios made eight all-black-cast musicals—a focus on Afro-America unparalleled in any other genre. It was during this same period that the first black film stars—Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge—emerged, not coincidentally, from the ranks of musical performers. That these films made so much of the connection between African Americans and musicality was somewhat ironic, Knight points out, because they did so in a form (song) and a genre (the musical) celebrating American social integration, community, and the marriage of opposites—even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar—Show Boat, Stormy Weather, Porgy and Bess—and obscure—musical films by pioneer black director Oscar Micheaux, Lena Horne’s first film The Duke Is Tops, specialty numbers tucked into better-known features, and lost classics like the short Jammin’ the Blues. It considers the social and cultural contexts from which these films arose and how African American critics and audiences responded to them. Finally, Disintegrating the Musical shows how this history connects with the present practices of contemporary musical films like O Brother, Where Art Thou? and Bamboozled.

Examining English, Latin, French, and German texts, The Knight, the Cross, and the Song traces the role of secular chivalric literature in shaping Crusade propaganda across three centuries.

(Piano Solo Songbook). 28 piano solos for the music that envelops you as you lose yourself in the world of video games, including: Angry Birds Theme * Assassin's Creed Revelations * Battlefield Theme * Dragonborn (Skyrim Theme) * Elder Scrolls: Oblivion * Main Theme from Final Fantasy I * Overture from God of War III * Mass Effect: Suicide Mission * Minecraft: Sweden * Rage of Sparta from God of War III * Uncharted Theme * and more.

A young man in his teens is transported from our world to a magical realm that contains seven levels of reality. Very quickly transformed by magic into a grown man of heroic proportions, he takes the name Able and sets out on a quest to find the sword that has been promised to him, a sword he will get from a dragon, the one very special blade that will help him fulfill his life ambition to become a knight and a true hero. Inside, however, Able remains a boy, and he must grow in every sense to survive the dangers and delights that lie ahead in encounters with giants, elves, wizards, and dragons. His adventure will conclude next year in the second volume of The Wizard Knight, The Wizard. Gene Wolfe is one of the most widely praised masters of SF and fantasy. He is the winner of the World Fantasy Award for Life Achievement, the Nebula Award, twice, the World Fantasy Award, twice, the John W. Campbell Memorial Award, the British Fantasy Award, and France's Prix Apollo. His popular successes include the four-volume classic The Book of the New Sun. With this new series, Wolfe not only surpasses all the most popular genre writers of the last three decades, he takes on the legends of the past century, in a work that will be favorably compared with the best of J. R. R. Tolkien, E. R. Eddison, Mervyn Peake, and T. H. White. This is a book---and a series---for the ages, from perhaps the greatest living writer in (or outside) the fantasy genre. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A girl disguises herself as a boy to train as a knight in this first book in Tamora Pierce’s Margaret A. Edwards Award–winning young adult series—now with a new look! From now on, I’m Alan of Trebond, the younger twin. I’ll be a knight. In a time when girls are forbidden to be warriors, Alanna of Trebond wants nothing more than to be a knight of the realm of Tortall. So she finds a way to switch places with her twin brother, Thom, and, disguised as a boy, begins her training as a page at the palace of King Roald. But the road to knighthood, as she discovers, is not an easy one. Alanna must master weapons, combat, and magic, as well as polite behavior, her temper, and even her own heart. So begin Alanna’s adventures—filled with swords and sorcery, adventure and intrigue, good and evil—that will lead to the fulfillment of her dreams and make her a legend in the land.