This is a book filled with the events of a hardworking American man that was enlisted in the armed services, and was mentally wounded in war. His life events and success with music after his discharge.

This is a book of inspirational and heartfelt true stories expressed through lyrics and poetry from a lifelong songwriter and veteran.

In twilight’s embrace, shadows dance, Whispers weave a mystic trance. Moonlit dreams, a silent symphony, Stars paint verses in the cosmic sea. Hearts entwined, a serenade of fate, Love’s melody, a timeless state. In the quiet night, echoes sigh, A poetic dance, beneath the sky.

EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.

Show Tunes fully chronicles the shows, songs, and careers of the major composers of the American musical theatre, from Jerome Kern's earliest interpolations to the latest hits on Broadway. Legendary composers like Gershwin, Rodgers, Porter, Berlin, Bernstein, and Sondheim have been joined by more recent songwriters like Stephen Schwartz, Stephen Flaherty, Michael John LaChiusa, and Adam Guettel. This majestic reference book covers their work, their innovations, their successes, and their failures. Show Tunes is simply the most comprehensive volume of its kind ever produced, and this newly revised and updated edition discusses almost 1,000 shows and 9,000 show tunes. The book has been called "a concise skeleton key to the Broadway musical" (Variety) and "a ground-breaking reference work with a difference" (Show Music)-or, as the Washington Post observed, "It makes you sing and dance all over your memory." The eagerly anticipated Fourth Edition, updated through May, 2009, features the entire theatrical output of forty of Broadway's leading composers, in addition to a wide selection of work by other songwriters. The listings include essential production data and statistics, the most extensive information available on published and recorded songs, and lively commentary on the shows, songs, and diverse careers. Based on meticulous research, the book also uncovers dozens of lost musicals-including shows that either closed out of town or were never headed for Broadway-and catalogs hundreds of previously unknown songs, including a number of musical gems that have been misplaced, cut, or forgotten. Informative, insightful, and provocative, Show Tunes is an essential guide for anyone interested in the American musical.

Nazi salutes were “made in the USA.” That’s one of many amazing revelations explained in this eye-popping book. All the secrets are revealed here about the notorious gesture known by many names: Nazi salutes, Bellamy salutes, Hitler salutes, Roman salutes, Fascist salutes. Most of what is written about Adolf Hitler is designed to deceive the public. For example, the following facts (with credit to the archives of the historian Dr. Rex Curry) will come as news to most readers: 1. Hitler was influenced by American socialists - the USA's Pledge of Allegiance to the flag was the origin of Nazi salutes and Nazi behavior. The pledge was written by an American national socialist. 2. The classic military salute (to the brow) also contributed to the creation of the Nazi salute (with the right-arm extended stiffly). 3. Hitler and his supporters self-identified as “socialists” by the very word in voluminous speeches and writings. The term "Socialist" appears throughout Mein Kampf as a self-description by Hitler. 4. Hitler never called himself a "Nazi." There was no “Nazi Germany.” There was no “Nazi Party.” Those terms are slang to hide how Hitler and his comrades self-identified: SOCIALIST. 5. Hitler never called himself a “Fascist.” That term is misused to hide how Hitler and his comrades self-identified: SOCIALIST. 6. The term “Nazi” isn’t in "Mein Kampf" nor in "Triumph of the Will." 7. The term “Fascist” never appears in Mein Kampf as a self-description by Hitler. 8. The term “swastika” never appears in the original Mein Kampf. 9. There is no evidence that Hitler ever used the word “swastika.” 10. The symbol that Hitler did use was intended to represent “S”-letter shapes for “socialist.” 11. Hitler altered his own signature to reflect his “S-shapes for socialism” logo branding. 12. Mussolini was a long-time socialist leader, with a socialist background, raised by socialists to be a socialist, and he joined socialists known as “fascio, fasci, and fascisti.” 13. Fascism came from a socialist (e.g. Mussolini). Communism came from a socialist (e.g. Marx). Fascism and Communism came from socialists. 14. German socialists and Soviet socialists partnered for International Socialism in 1939. They launched WWII, invading Poland together, and continued onward from there, killing millions. Soviet socialism had signed on for Hitler’s Holocaust. 15. After Hitler’s death, Stalin continued the plan he had made with Hitler for Global Socialism. Stalin took over the same areas that Hitler had captured. He used the same facilities that Hitler had used. Hitler’s Holocaust never ended. Stalin replaced Hitler. Hitler, Stalin, Mao, Mussolini, and other tyrants were influenced by propaganda in the USA, including the childish American socialists Francis Bellamy and Edward Bellamy. Both Bellamy cousins wanted government to take over all schools, to teach socialism to all youngsters worldwide. Francis Bellamy was the author of the Pledge of Allegiance to the flag, the origin of the infamous stiff-armed salute adopted later under German socialism and Adolf Hitler. Long before the Deutschland fad began, American schoolchildren were taught to chant in unison and perform the same salute each day in government schools that imposed segregation by law and taught racism as official policy. Anyone who rejected the ritual in the schools was persecuted. “America’s Nazi salute” was often performed by public officials in the USA from 1892 through 1942. What happened to old photographs and films of the American Nazi salute performed by federal, state, county, and local officials? Those photos and films are rare because people don't want to know the truth about the government’s past. TV, newspapers and other MSM will not show a historic photo or video of the early American straight-arm salute nor mention its history and impact worldwide. American youth groups (Scouting) adopted Bellamy's American Nazi salute (with Bellamy’s encouragement) AND saluted swastika badges (卐) worn by fellow scouts. Many Americans were accustomed to “Nazi salutes for swastikas” long before German socialism (and Hitler Youth) adopted similar behavior under Hitler. That helps to explain another inconvenient truth: swastikas were promoted in the US military and worn as a patch on the upper left arm of American soldiers in a fashion that would become uniform under German socialism. There are photos in this book! The military salute was the origin of Nazi salutes, via the USA's flag pledge in government schools. Public officials in the USA who preceded the German socialist (Hitler) and the Italian socialist (Mussolini) were sources for the stiff-armed salute (and brainwashed chanting) in Germany, Italy, and other foreign countries. The "ancient Roman salute" myth originated from the city of Rome in the state of New York (not Italy), Bellamy's hometown. Later, Mussolini presented a strange gift to the city of Rome, NY: a statue of two human male infants suckling on a female wolf. That statue remains on display in Rome, NY.

The first comprehensive English translation and commentary on Dante’s early verse to be published in almost fifty years, Dante’s Lyric Poetry includes all the poems written by the young Dante Aligheri between c. 1283 and c. 1292. Essays by Teodolinda Barolini guide the reader through the new verse translations by Richard Lansing, illuminating Dante’s transformation from a young courtly poet into the writer of the vast and visionary Commedia. Barolini’s commentary exposes Dante’s lyric poems as early articulations of many of the ideas in the Commedia, including the philosophy and psychology of desire and its role as motor of all human activity, the quest for vision and transcendence, the frustrating search for justice on earth, and the transgression of boundaries in society and poetry. A wide-ranging and intelligent examination of one of the most important poets in the Western tradition, this book will be of interest to scholars and poetry-lovers alike.

Посібник розроблено з метою збагачення змісту та підвищення якості філологічної підготовки студентів з англійської мови як фахової дисципліни у вищих навчальних закладах. Посібник складається з чотирьох частин: у перших двох частинах наведено теоретичний матеріал з загальних питань фоностилістики, фоносемантики, інформаційної теорії, невербальних засобів та риторики мовленнєвої комунікації; у третій – інформацію про конкретні фоностилі з прикладами текстів, що звучать; у четвертій – тексти різних фоностилів для читання. У чотирьох додатках подано список цитованих джерел, список літератури, рекомендованої до поглибленого вивчення фонетики англійської мови, глосарій фонетичних термінів.