Thomas Songs

Feature a module with 10 song triggers and five spreads of full bleed art.

Like Fela Kuti and Bob Marley, singer, composer, and bandleader Thomas Mapfumo and his music came to represent his native country's anticolonial struggle and cultural identity. Mapfumo was born in 1945 in what was then the British colony of Rhodesia (now Zimbabwe). The trajectory of his career—from early performances of rock 'n' roll tunes to later creating a new genre based on traditional Zimbabwean music, including the sacred mbira, and African and Western pop—is a metaphor for Zimbabwe's evolution from colony to independent nation. Lion Songs is an authoritative biography of Mapfumo that narrates the life and career of this creative, complex, and iconic figure. Banning Eyre ties the arc of Mapfumo's career to the history of Zimbabwe. The genre Mapfumo created in the 1970s called chimurenga, or "struggle" music, challenged the Rhodesian government—which banned his music and jailed him—and became important to Zimbabwe achieving independence in 1980. In the 1980s and 1990s Mapfumo's international profile grew along with his opposition to Robert Mugabe's dictatorship. Mugabe had been a hero of the revolution, but Mapfumo’s criticism of his regime led authorities and loyalists to turn on the singer with threats and intimidation. Beginning in 2000, Mapfumo and key band and family members left Zimbabwe. Many of them, including Mapfumo, now reside in Eugene, Oregon. A labor of love, Lion Songs is the product of a twenty-five-year friendship and professional relationship between Eyre and Mapfumo that demonstrates Mapfumo's musical and political importance to his nation, its freedom struggle, and its culture.

Play and sing 10 charming songs with this real 24-note keyboard sound book. Each spread has notes tha tare easy to match with colorful labels on the piano keys.

A collection of political verses, venality satires and songs of social protest from medieval England, with a wide-ranging introduction.

St. Thomas Aquinas never commented on the Song of Songs. The purpose of this book is to demonstrate, however, that he meditated on it and absorbed it, so that the words of the Song are for him a familiar repertoire and a theological source. His work contains numerous citations of the Song, not counting his borrowings of vocabulary and images from it. In total, there are 312 citations of the Song in Aquinas’s corpus, along with citations of the Song that are found in citations that Aquinas makes of other authors (as for example in the Catena aurea). Understanding the purpose and placement of these citations significantly enriches our understanding of Aquinas as a theologian, biblical exegete, and spiritual master. The book contains an Appendix listing and contextualizing each citation. The study of the citations of the Song especially illuminates Aquinas’s spiritual doctrine. By citing the Song, Aquinas emphasizes the spiritual life’s path of dynamic ascent, through an ever increasing participation in the mystery of the nuptial union of Christ and the Church through love. The Song also highlights the eschatological tension or yearning present in the spiritual life, which is ordered to the fullness of beatific vision. Although Aquinas’s theology is highly “intellectual,” by citing the Song he brings out the affective character of the spiritual life and conveys the centrality of love in the soul’s journey toward Christ. He also draws together contemplation and preaching through his use of the Song.

This title was first published in 2001. Thomas Lovell Beddoes (1803-49) was a powerful poet of the English Romantic period, who has been and is still strangely neglected by critics. His macabre blank verse dramatic writings and his delicately balanced lyrics have both won ardent admirers such as Browning, Gosse, Pound and Christopher Ricks. Yet there are formal and generic problems in Beddoes's writings which continue to marginalize him as merely an eccentric, and the canon of Romanticism seems to have found no place for him.