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NEW YORK TIMES and INTERNATIONAL BESTSELLER In Face the Music, Paul Stanley—the co-founder and famous “Starchild” frontman of KISS—reveals for the first time the incredible highs and equally incredible lows in his life both inside and outside the band. Face the Music is the shocking, funny, smart, inspirational story of one of rock’s most enduring icons and the group he helped create, define, and immortalize. Stanley mixes compelling personal revelations and gripping, gritty war stories that will surprise even the most steadfast member of the KISS Army. He takes us back to his childhood in the 1950s and ’60s, a traumatic time made more painful thanks to a physical deformity. Born with a condition called microtia, he grew up partially deaf, with only one ear. But this instilled in him an inner drive to succeed in the most unlikely of pursuits: music. With never-before-seen photos and images throughout, Stanley’s memoir is a fully realized and unflinching portrait of a rock star, a chronicle of the stories behind the famous anthems, the many brawls and betrayals, and all the drama and pyrotechnics on and off the stage. Raw and confessional, Stanley offers candid insights into his personal relationships, and the turbulent dynamics with his bandmates over the past four decades. And no one comes out unscathed—including Stanley himself. “People say I was brave to write such a revealing book, but I wrote it because I needed to personally reflect on my own life. I know everyone will see themselves somewhere in this book, and where my story might take them is why I’m sharing it.” —Paul Stanley
With over 150 photos--most of which are published here for the first time--Gene Simmons and Paul Stanley take readers on an intimate tour of the early days of KISS. Full color and b&w.
Edwards y el Gran Despertar Según una tradición, no estaba programado que Edwards predicara en la capilla de Enfield el 8 de Julio [1741], pero lo hizo en sustitución de otro predicador. Aparentemente, el Gran Despertar no había llegado aún al distrito y reinaba allí una total indiferencia de que sucediera o no, tanto que cristianos de distritos vecinos habían dedicado casi toda la noche anterior a la oración, no fuera que “mientras las lluvias divinas sucedían todo alrededor”, no las hubiera en Enfield. Edwards tomó como su texto Deuteronomio 32:35: “A su tiempo su pie resbalará”, repitiendo un sermón que había predicado en su propia iglesia poco antes sobre el tema: “Pecadores en manos de un Dios airado”. [Eleazer] Wheelock reportó a [Benjamín] Trumbull cómo los presentes, que había caracterizado como “indiferente y presumida”, tanto habían cambiado antes de finalizado el sermón que se habían “humillado con una convicción tremenda de su pecado y peligro”. –Iain Murray, Jonathan Edwards: A New Biography (Edinburgo, Banner of Truth, 1987), 168. La predicación por medio de la cual el espíritu de estupor fue abatido en la década de 1730, era escrutadora y convincente. Se estaba levantando un grupo de hombres para quienes la gravedad del pecado, la posibilidad de una profesión falsa de fe en Cristo y la indiferencia de un mundo perdido les era una carga apremiante. Detrás de sus declaraciones públicas estaba su visión de Dios y de la eternidad. Sus valles de humillación personal se habían convertido en valles de visión y, como dijera alguien que siguió en los pasos de Edwards siglos después: “Cuando los pastores captan una vista del valle de visión, y del abismo sin fondo en el cual cada hueso se va hundiendo, sienten que es importante advertir y alarmar a los pecadores, y solo entonces predican para muerte, predican para la eternidad, predican para el tribunal de Dios, predican para el cielo y predican también para el infierno”.—Ibid, 133. Autor: Jonathan Edwards (1703-1758)
The recently released Tim Robbins film Cradle Will Rock reawakened worldwide audiences to composer Marc Blitzstein's runaway Broadway hit of 1937, and to the exciting times he lived in. Blitzstein went on to write Regina (based on Lillian Hellman's "The Little Foxes"), the definitive translation of Kurt Weill and Bertolt Brecht's Threepenny Opera, and an enormous amount of other music based squarely in American and Broadway traditions. Mark the Music is an engaging biography of this larger-than-life composer that reads like a novel. Practically every page features an illuminating and revealing pen portrait of the most important creative personalities in American culture—Orson Welles, John Houseman, Ernest Hemingway, Paul Robeson, Sean O'Casey, Agnes de Mille, Lotte Lenya, Melvyn Douglas, Shirley Both, Leonard Bernstein, Aaron Copland, Earl Robinson, Rudolf Bing, and many more. A vibrant journey through mid-20th century America comes to life through the eyes and experience of Marc Blitzstein. The issues that marked Blitzstein's day—censorship, repression, war—are all with us today. This is a story of passion, defiance, glory and tragedy, and ultimately of faith in democratic American values expressed through the arts.
Jesus and Tabfa, his anchorite and spouse, come to the rescue every time, and the Reverend Doctor Howard floods wonderful quotes, sayings, and aphorisms all along the way!
Hawkins' pioneering contribution to music history remains of significant interest today despite its unfavourable comparison to Burney's in his lifetime.
THE STORY: The action begins with the arrival of the author and several other new students at St. Mark's Academy, a strict Catholic school for girls. Determined to cause trouble, the girls begin by giving false names for themselves, which quickly b

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