In Son of a Preacher Man Jay Bakker, son of famous televangelists Jim and Tammy Faye Bakker, tells the compelling story of growing up in the glaring lights of a television studio. It's all here: the Bakker family's public disgrace, the fall of the PTL (Praise The Lord) media empire, and Bakker's subsequent plunge into a morass of anxiety and selfdestruction. But Son of a Preacher Man is more than a tell-all -- it is a story that dramatizes the human toll of this tragedy on the Bakker family, with insight into the seismic shifts that nearly destroyed his father and wrecked his parents' longtime marriage. It is the story of a prodigal son's return to the true meaning of God's love and acceptance. It is the story of a boy who was lost, but on the journey back from ruin finds a better way to understand and live life. It is the story of discovering God's grace and of becoming a man. Despite years of disillusionment, alcoholism, and heartbreak, Bakker managed to continue on his spiritual quest. First he worked to redeem his father...then his faith. Bakker began his service with Revolution, a ministry for skateboarders, punk rockers, and hippiesthe street kids he knew best. He shared the message that saved his life -- the message of Jesus that God's love is infinitely generous. Now Bakker has a large and growing ministry among the tattooed and pierced of downtown Atlanta who feel rejected by the traditional Church yet flock to hear his message of grace and love. Ultimately, Son of a Preacher Man is a story about resurrection -- of one lost young man, of his disgraced and imprisoned father, and of the hope that can't be destroyed by the machinations of power-hungry preachers, The long, lonely road that Bakker traveled taught him that you can't earn or make yourself worthy of the love of God, but if you are willing to let go and open up, that infinite love is waiting to welcome you home with open arms.

A historical romance novel set in the 1920s in Tulsa, Oklahoma, Son of a Preacherman depicts the highly segregated life of African Americans in the Greenwood District, in Northern Tulsa and the tensions leading up to the Tulsa Race Riots. Billy Ray Matthias is the handsome younger son of the church’s new pastor. Benny is the daughter of an oil rich family. Billy Ray is convinced that Benny is the woman God would have him settle down with. Benny, on the other hand, recently had her heart broken. She is not the least bit interested in getting involved anytime soon. As Billy’s pursuit of Benny intensifies, so does the political and social climate in the prosperous African American neighborhood known as the Greenwood District.. Racial tensions in Tulsa escalate when Dick Rowland, a black man, is accused by a local newspaper of raping Sarah Page, a white woman, on an elevator. Benny's brother Ethan and a radical white attorney by the name of Maynard Vaughn despite continuous threats put their weight and energy behind helping Dick. Meanwhile, the White Glove Society, a racist group seeks to destroy not only Dick but all the African Americans in this successful black owned community. As tensions come to a head and violence breaks out, Billy and Benny are caught up in the heat of chaos. He vows to keep her safe but will Benny let him? And will faith in God be enough to sustain the people of the community as their lives are being changed forever by deadly acts of hatred?

John Wesley Hardin was the son of a Methodist minister who named his second boy after the founder of his church. The Reverend wanted Wes to become a man of faith; along the way the Preacherman's son drifted. By the time Wes was 15 he shot and killed 4 men. These deaths were the gateway to a killing spree that lasted ten years. Not a serial killer the majority of Hardin's shootings were carried out in the old west tradition; the man with the fastest draw wins. By the time Hardin was 25 he had killed 42 men. Wes' life story reads like an old fashioned, page turning murder mystery. The action takes place immediately after the Civil War during the Reconstruction period. He was the most wanted man in the state; Texas Rangers, local Sheriffs, Union Soldiers and numerous bounty hunters frantically looked for John Wesley Hardin. If you enjoy a thriller Preacherman's Son will not disappoint. My heartfelt wish is you will enjoy reading my historical novel as much as I did penning the words.

The Big Guitar Chord Songbook: The Sixties is here: Now you can sing and play all your favourite hits from the Sixties. Over 80 rock and pop classics from the likes The Beatles, The Who, Bob Dylan, The Rolling Stones, Jimi Hendrix and more. Each song is arranged in the original keys, complete with full lyrics, guitar chord boxes and a playing guide. The setlist includes : - (Sittin' On) The Dock Of The Bay [Otis Redding] - (Take A Little) Piece Of My Heart [Erma Franklin] - A Whiter Shade Of Pale [Procol Harum] - All Along The Watchtower [Jimi Hendrix] - Alone Again Or [Love] - Born To Be Wild [Steppenwolf] - Catch The Wind [Donovan] - Dance To The Music [Sly And The Family Stone] - Dancing In The Street (Martha Reeves & The Vandellas) - Daydream [The Lovin' Spoonful] - Days (The Kinks) - Give Peace A Chance [John Lennon] - Gloria [Them] - Go Now [Moody Blues, The] - Going Up The Country [Canned Heat] - Here Comes The Sun [The Beatles] - Homeward Bound [Simon & Garfunkel] - House Of The Rising Sun [The Animals] - I Got You (I Feel Good) [James Brown] - I Got You Babe [Sonny & Cher] - I Say A Little Prayer [Aretha Franklin] - I'm A Believer [The Monkees] - Keep On Running [The Spencer Davis Group] - Like A Rolling Stone [Bob Dylan] - Louie, Louie [The Kingsmen] - My Generation [The Who] - Oh, Pretty Woman [Roy Orbison] - People Are Strange [The Doors] - Pictures Of Matchstick Men [Status Quo] - Somebody To Love [Jefferson Airplane] - Son Of A Preacher Man [Dusty Springfield] - Space Oddity [David Bowie] - Subterranean Homesick Blues [Bob Dylan] - Sugar, Sugar [The Archies] - Sunshine Of Your Love [Cream] - Suspicious Minds [Elvis Presley] - The Weight [The Band] - These Boots Are Made For Walking [Nancy Sinatra] - To Love Somebody (The Bee Gees) - Tobacco Road [The Nashville Teens] - Wichita Lineman [Glen Campbell] - Wild Thing [The Troggs] - Will You Love Me Tomorrow [The Shirelles] - Wouldn't It Be Nice [The Beach Boys] - You Really Got Me [The Kinks] And many more!

Born with cerebral palsy, Zach Cooley tells the story of his life with bits of historical information on the town of Austinville, Virginia intermingled throughout his work, which was also home to Hazel Stoots, his great-great aunt who served as the family matriarch despite having no children of her own, thanks to her undying sense of family. Hazel was also well-known as a worker for the local recreation center for more than 25 years, making her a popular citizen of the community. Later, to Zach, she was the center of his world. Her passing nearly led him down a destructive path. It would be years before he would find his purpose in life through a young woman named Emily, who would become the love of his life. In HAZEL'S LITTLE BUD, an autobiographical account with historical flavor, discover his story, which pays tribute to these two women and the community, which holds a history he is driven to protect.

By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans. Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise. According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.

This volume offers insights on experimental and empirical research in theoretical linguistic issues of negation and polarity, focusing on how negation is marked and how negative polarity is emphatic and how it interacts with double negation. Metalinguistic negation and neg-raising are also explored in the volume. Leading specialists in the field present novel ideas by employing various experimental methods in felicity judgments, eye tracking, self-paced readings, prosody and ERP. Particular attention is given to extensive crosslinguistc data from French, Catalan and Korean along with analyses using semantic and pragmatic methods, corpus linguistics, diachronic perspectives and longitudinal acquisitional studies as well as signed and gestural negation. Each contribution is situated with regards to major previous studies, thereby offering readers insights on the current state of the art in research on negation and negative polarity, highlighting how theory and data together contributes to the understanding of cognition and mind.