With the Shaman Fight now underway, Yoh and his friends board a flight to America with the help of the Patch, the tribe of shamans who officiate the tournament. All entrants must report to the Patch village by the beginning of the Shaman Fight...but just moments before their expected arrival, the Patch make a shocking announcement: they'll need to find the village on their own. That was bad enough...but their airplane disappears mid-flight, leaving them hurtling toward the ground!

Junior high whiz kid Manta Oyamada was taking a shortcut through the cemetery one night when he met a strange kid--Yoh Asakura, shaman who saved Manta from cemetery-desecrating gang members--but that was just the beginning. Because Yoh is not the only shaman in the world--and danger comes to visit them in the form of a Chinese shaman with ruthless ambitions.

To most people, ghosts are the stuff of horror stories and nightmares. But to Yoh Asakura, a transfer student at Shinra Private Junior High, they're his friends! Yoh Asakura is a shaman--one of the gifted few who can speak to spirits"--Page 4 of cover.

Hip hop is remarkably self-critical as a genre. In lyrics, rappers continue to debate the definition of hip hop and question where the line between underground artist and mainstream crossover is drawn, who owns the culture and who runs the industry, and most importantly, how to remain true to the culture's roots while also seeking fame and fortune. The tension between the desires to preserve hip hop's original culture and to create commercially successful music promotes a lyrical war of words between mainstream and underground artists that keeps hip hop very much alive today. In response to criticisms that hip hop has suffered or died in its transition to the mainstream, this book seeks to highlight and examine the ongoing dialogue among rap artists whose work describes their own careers. Proclamations of hip hop's death have flooded the airwaves. The issue may have reached its boiling point in Nas's 2006 album Hip Hop is Dead. Nas's album is driven by nostalgia for a mythically pure moment in hip hop's history, when the music was motivated by artistic passion, instead of base commercialism. In the course of this same album, however, Nas himself brags about making money for his particular record label. These and similar contradictions are emblematic of the complex forces underlying the dialogue that keeps hip hop a vital element of our culture. Is Hip Hop Dead? seeks to illuminate the origins of hip hop nostalgia and examine how artists maintain control of their music and culture in the face of corporate record companies, government censorship, and the standardization of the rap image. Many hip hop artists, both mainstream and underground, use their lyrics to engage in a complex dialogue about rhyme skills versus record sales, and commercialism versus culture. This ongoing dialogue invigorates hip hop and provides a common ground upon which we can reconsider many of the developments in the industry over the past 20 years. Building from black traditions that value knowledge gained from personal experience, rappers emphasize the importance of street knowledge and its role in forging a career in the music business. Lyrics adopt models of the self-made man narrative, yet reject the trajectories of white Americans like Benjamin Franklin who espoused values of prudence, diligence, and delayed gratification. Hip hop's narratives instead promote a more immediately viable gratification through crime and extend this criminal mentality to their work in the music business. Through the lens of hip hop, and the threats to hip hop culture, author Mickey Hess is able to confront a range of important issues, including race, class, criminality, authenticity, the media, and personal identity.

"This complete self-study course in modern Wicca is a treasured classic - an essential and trusted guide that belongs in every witch's library."---Back cover

Nevare Burvelle is the second son of a second son, destined from birth to carry a sword. The wealthy young noble will follow his father—newly made a lord by the King of Gernia—into the cavalry, training in the military arts at the elite King's Cavella Academy in the capital city of Old Thares. Bright and well-educated, an excellent horseman with an advantageous engagement, Nevare's future appears golden. But as his Academy instruction progresses, Nevare begins to realize that the road before him is far from straight. The old aristocracy looks down on him as the son of a "new noble" and, unprepared for the political and social maneuvering of the deeply competitive school and city, the young man finds himself entangled in a web of injustice, discrimination, and foul play. In addition, he is disquieted by his unconventional girl-cousin Epiny—who challenges his heretofore unwavering world view—and by the bizarre dreams that haunt his nights. For twenty years the King's cavalry has pushed across the grasslands, subduing and settling its nomads and claiming the territory in Gernia's name. Now they have driven as far as the Barrier Mountains, home to the Speck people, a quiet, forest-dwelling folk who retain the last vestiges of magic in a world that is rapidly becoming modernized. From childhood Nevare has been taught that the Specks are a primitive people to be pitied for their backward ways—and feared for their indigenous diseases, including the deadly Speck plague, which has ravaged the frontier towns and military outposts. The Dark Evening brings the carnival to Old Thares, and with it an unknown magic, and the first Specks Nevare has ever seen . . .

Barliona. A virtual world jam-packed with monsters, battles - and predictably, players. Millions of them come to Barliona, looking forward to the things they can't get in real life: elves and magic, dragons and princesses, and unforgettable combat. The game has become so popular that players now choose to spend months online without returning home. In Barliona, anything goes: you can assault fellow players, level up, become a mythical hero, a wizard or a legendary thief. The only rule that attempted to regulate the game demanded that no player was allowed to feel actual pain. But there's an exception to every rule. For a certain bunch of players, Barliona has become their personal hell. They are criminals sent to Barliona to serve their time. They aren't in it for the dragons' gold or the abundant loot. All they want is to survive the virtual inferno. They face the ultimate survival quest.