Sue Miller - Böcker

Promiseland is Willow Creek’s highly successful children’s ministry. Using examples from Promiseland and churches of all sizes around the country, this book provides step by step guidance and creative application exercises to help churches develop a thriving children’s ministry—one that strives to be the best hour of every kid’s week. Included are Scripture-based principles and practical resources for church staff members and volunteers who agree with the critical role children’s ministry plays in a local church. Making Your Children’s Ministry the Best Hour of Every Kid’s Week, based on twenty-eight years of experience at Willow Creek, explains four ministry foundations: Mission, Vision, Values, and Strategy. Content includes: Detailed answers to questions facing every children’s ministry: • What does Jesus expect from children’s ministry? • How can we evangelize lost kids and disciple saved kids at the same time, and should we? • How do we engage kids so they don’t become bored? • How do we get better at recruiting and leading volunteers? • How can our ministry be a safe place for children? • Six specific ministry values that address the needs of today’s children • Practical first steps for ministries that want to get serious about change • Clear indicators of success in children’s ministry

In the spring of 1986, Sue Miller found herself more and more deeply involved in caring for her father as he slipped into the grasp of Alzheimer's disease. "The Story of My Father" is a profound, deeply moving account of her father's final days and her own response to it. With care, restraint and consummate skill, Miller writes of her struggles to be fully with her father in his illness while confronting her own terror of abandonment, and eventually the long, hard work of grieving for him. And through this candid, painful record, she offers a rigorous, compassionate inventory of two lives, a powerful meditation on the variable nature of memory and the difficulty of weaving a truthful narrative from the threads of a dissolving life. This is a truly remarkable book from one of America's best loved authors.

Richard Egües and José Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachachá. Despite the commercial success of their recordings with Orquesta Aragón and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists.In Cuban Flute Style: Interpretation and Improvisation, Sue Miller—music historian, charanga flute player, and former student of Richard Egües—examines the early-twentieth-century decorative style of flute playing in the Cuban danzón and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egües. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egües, Joaquín Oliveros, Polo Tamayo, Eddy Zervigón, and other renowned players. Miller also covers techniques for flutists seeking to learn the style—including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute—as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

One minute John is the cornerstone of Eva's world, rock to his two teenage stepdaughters and his own son Theo, the next he is tossed through the air in a traffic accident, and snapped like a twig. His sudden death changes everything. Eva struggles with the terror and desolation of loneliness, and finds herself drawn back to her untrustworthy ex-husband; Emily, the eldest daughter, grapples with her new-found independence and responsibility. Little Theo can only begin to fathom the permanence of his father's death. But for Daisy, John's absence opens up a whole world of confusion just at the onset of adolescence and blossoming sexuality. And in steps a man only too willing to take advantage.

Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York.While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York.Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.

Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York.While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York.Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.

‘Penetrating, intelligent, humane, funny too ... Smart and powerfully alive’ Tessa Hadley‘Superb’ Daily Mail‘A poignant page-turner, delving deep into our most intimate relationships’ Evening StandardAnnie is the great love of Graham’s life. Here they are in late middle-age, the photographer and the bookseller, so mismatched and yet so well-matched. Theirs is a happy marriage of nearly thirty years – and even the happiest of marriages, Graham tells himself, have their secrets.Then the unthinkable happens, and suddenly Annie is alone, stumbling in the dark. How much can we ever know the people who love us?‘With what exquisite truth Sue Miller writes … I was completely wrapped up in the beautifully, and often so tenderly observed rollercoaster of grief. An invaluably moving book’ Juliet Nicolson'It's absolutely wonderful - detailed, precise emotions that Miller gets down in such a tender moving way ... Devasting. Brilliant' Claire Fuller

A reissue of the powerful and troubling debut sensation - which spent over six months at top of the New York Times bestseller list on its original publication thirty years agoRecently divorced, Anna Dunlap has two passionate attachments: her daughter, four-year-old Molly, and her lover, Leo, the man who makes her feel beautiful - and sexual - for the first time. Swept away by happiness and passion, Anna feels she has everything she’s ever wanted. Then come the shocking charges that would threaten her new love, her new family - that force her to prove she is a good mother.