Draws from commentaries, personal experience, and contemporary culture to provide insight into the meaning of the Book of Jonah and what it reveals about human nature and man's relationship with God.
Bob Brewer could remember Sarah Collins clearly—five foot eight, slender, shapely, golden blond hair, golden tan skin, and a soft smile that attracted men like no other woman he'd ever met. She'd been a friend when he' roomed with Tom in California three years before. Now, incredibly, Sarah was dead and Tom imprisoned for her murder. Tom had called to ask for help. Bob didn't fancy flying three thousand miles to seek a killer but no one else thought Tom innocent. When they'd been roommates in California Tom had saved him. Tom hadn't reminded him but the debt remained nonetheless; he had no choice. It was not a pleasant transcontinental flight. Bob worried about guns and knives and the like. He worried that he wasn't a detective nor had ever dreamed of becoming one. He worried that murderers don't like to be caught and tend to get nasty when threatened. It also occurred to him that his inability to hear, even though he'd been deaf all his life and was quite used to it, might make catching a murderer even harder and more dangerous.
Steven James presents sixteen scripts, for use by drama ministries in church or on campus, that give voice to the unvoiced anxieties and uncertainties of people coming of age in a complex world.
In When Rock Met Reggae, Steven Blush takes a spirited, cross-genre perspective in this "illuminating chronicle" (Booklist) of the crossover of Jamaican, British, and American sounds that changed the face of popular music. Library Journal notes that "Blush’s nimble outline of the interplay between reggae and British punk will appeal to music fans.” Bringing the same incisive, cross-genre perspective he offered in When Rock Met Disco, Steven Blush gives a spirited survey of the crossover of Jamaican, British, and American sounds that changed the face of popular music in When Rock Met Reggae. The inspiration of ska, rock-steady, dub, and reggae—heard on independent recordings played on “soundsystems” from Kingston and Brixton—created a new rock tonality and attitude, spanning from Eric Clapton to The Clash. Meanwhile, the “Two Tone” sounds—traversing The Specials, Madness, and UB40—fueled the ‘90s ska revival of Sublime, No Doubt, The Mighty Mighty Bosstones, and beyond. Attentive to the racial, political, and artistic aspects of this intricate story, Blush gives a memorable account of one of the most fertile cross-pollinations in pop music history.
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