For most of its history, the church has preached and taught a doctrine of dubious biblical origins. The doctrine has cast a pall of gloom over the light of the gospel of Jesus Christ. It has caused division in the human family, has inspired fear of God’s wrath in the lives of the faithful, and has prevented believers from experiencing the abundant life that is theirs through the life, death, and resurrection of Jesus. Nowhere to Go But Up, investigates the source of this doctrine and surveys its use by the Christian church. From its findings, the book offers an alternative interpretation to several passages of Scripture—recapturing the understanding of the first followers of the Way and the insights of the earliest church fathers. Several salvation motifs are resurrected from the early centuries of the church. These motifs invite readers to view the ministry of Jesus from refreshing, life-changing perspectives. Shunning the centuries-old practice of living in fear of God’s judgment, the book presents readers with a new, dynamic, yet realistic vision of living in the power of God’s love—celebrating creation, the diversity of the human family, and our unity as God’s children.

A behind-the-scenes tour of the making of the Emmy-nominated television show Inside the Actors Studio describes the host and author's experiences during noteworthy interviews, from Christopher Reeve's first appearance after his accident to Robert De Niro's and Martin Scorsese's disclosures about their co-development of the famous mirror scene. 100,000 first printing.

The 1980s witnessed a lemming-like rush into the sea of debt on the part of the American industrial and financial communities, with consequences we are only beginning to appreciate. But the speculative frenzy of the eighties didn't just happen. It was the culmination of a long cycle of slow relaxation of credit practices--the subject of James Grant's brilliant, clear-eyed history of American finance. Two long-running trends converged in the 1980s to create one of our greatest speculative booms: the democratization of credit and the socialization of risk. At the turn of the century, it was almost impossible for the average working person to get a loan. In the 1980s, it was almost impossible to refuse one. As the pace of lending grew, the government undertook to bear more and more of the creditors' risk--a pattern, begun in the Progressive era, which reached full flower in the "conservative" administration of Ronald Reagan. Based on original scholarship as well as firsthand observation, Grant's book puts our recent love affair with debt in an entirely fresh, often chilling, perspective. The result is required--and wickedly entertaining--reading for everyone who wants or needs to understand how the world really works. "A brilliantly eccentric, kaleidoscopic tour of our credit lunacy. . . . A splendid, tooth-gnashing saga that should be savored for its ghoulish humor and passionately debated for its iconoclastic analysis. It is a fitting epitaph to the credit binge of the '80s."--Ron Chernow, The Wall Street Journal.

Jonas Mekas has worked together with Andy Warhol, George Maciunas, John Lennon, and many others. In New York he was an influential figure in the New American Cinema, although he came to film-making relatively late. In 1944 Mekas and his younger brother Adolfas had to flee from the Nazis for copying leaflets. They were interned for eight months in a labour camp in Elmshorn. The Soviet occupation prevented him from returning to his native Lithuania after the war and, classed as a ?displaced person?, he lived in DP camps in Wiesbaden and Kassel. Towards the end of 1949 he and his brother emigrated to New York. In his autobiography 'I Had Nowhere to Go' he describes his survival in the camps and his arrival in New York. Mekas tells a universal story, that of an émigré who can never go back, whose loneliness in his new world is emblematic of human existence.

For the first time ever, get the complete story of Justin Bieber's mother's amazing spiritual journey from brokenness and despair to wholeness and hope.

While the 1960s may have been a decade of significant upheaval in America, it was also one of the richest periods in musical theatre history. Shows produced on Broadway during this time include such classics as Bye, Bye Birdie; Cabaret; Camelot; Hello Dolly!; Fiddler on the Roof; How to Succeed in Business without Really Trying; Oliver!; and Man of La Mancha. Performers such as Dick Van Dyke, Anthony Newley, Jerry Orbach, and Barbara Streisand made their marks, and other talents—such as Bob Fosse, John Kander, Fred Ebb, Alan Jay Lerner, Frederick Loewe, Jerome Robbins, and Stephen Sondheim—also contributed to shows. In The Complete Book of 1960s Broadway Musicals, Dan Dietz examines every musical and revue that opened on Broadway during the 1960s. In addition to providing details on every hit and flop, Dietz includes revivals and one-man and one-woman shows that centered on stars like Jack Benny, Maurice Chevalier, Marlene Dietrich, Danny Kaye, Yves Montand, and Lena Horne. Each entry consists of: Opening and closing dates Plot summaries Cast members Number of performances Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions In addition to entries for each production, the book offers numerous appendixes: a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the New York City Center Light Opera Company, the New York City Opera Company, and the Music Theatre of Lincoln Center. A treasure trove of information,this significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.