Unsilenced

Are you afraid to share your faith in Jesus with unbelievers? When the opportunity presents itself, do you feel like you just don't know what to say? You are not alone. Unsilenced: How to Voice the Gospel gives readers the knowledge and confidence to share the Gospel with anybody, at any time. Author James Boccardo has shared his faith in Jesus with Israeli soldiers in Israel, Ethiopians on the Fourth of July, and even the Yale golf team. Unsilenced reviews the Gospel, gives tips on starting conversations with friends or strangers, and examines the typical questions unbelievers always ask. It includes real-life stories where these questions come up-and how to answer them. There are examples of practical applications along the way, giving every Jesus follower the confidence they need to share the Gospel. If the people who claim to know Jesus don't tell the world about Him, who will? Evangelism, faith, Gospel, missions, Paul, preach, share

Are you afraid to share your faith in Jesus with unbelievers? When the opportunity presents itself, do you feel like you just don't know what to say? You are not alone. Unsilenced: How to Voice the Gospel gives readers the knowledge and confidence to share the Gospel with anybody, at any time. Author James Boccardo has shared his faith in Jesus with Israeli soldiers in Israel, Ethiopians on the Fourth of July, and even the Yale golf team. Unsilenced reviews the Gospel, gives tips on starting conversations with friends or strangers, and examines the typical questions unbelievers always ask. It includes real-life stories where these questions come up-and how to answer them. There are examples of practical applications along the way, giving every Jesus follower the confidence they need to share the Gospel. If the people who claim to know Jesus don't tell the world about Him, who will? Evangelism, faith, Gospel, missions, Paul, preach, share

2026 PROSE Award Finalist in Music & The Performing Arts This book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence. The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men’s control of women’s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they’ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.

2026 PROSE Award Finalist in Music & The Performing Arts This book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence. The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men’s control of women’s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they’ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.